Version made from an incomplete tinted positive copy with French intertitles conserved by the Cinémathèque de Toulouse and from positive material on safety film taken from an unedited negative without intertitles conserved by the Gosfilmofond of Moscow. The resulting reconstructed version is incomplete in the final part. “This was the third film version of the popular crepuscolar comedy of the same name by Camasio and Oxilia. Other versions were that of 1913 by Sandro Camasio for the Itala film company, that of 1918 by Genina, again for Itala and that of 1940 by Ferdinando Poggioli. In this, his second, version Genina moves the setting to the late twenties and not only is it a question of costumes and urban scenery. There are the signs of the growth of Fascism in Italy: bespectacled Leone finds himself beside a negress in the train and immediately changes seat in disgust, the sporting cockiness of the boys in the park. Confined to an edifyingly sad and ideologically reasonable (university types do not marry dress makers) story, Genina proceeds at a heavy pace, lengthens the student-like gags beyond any physiological limit and hardens the passages from one situation to another.
The film is resolutely and ironically not a star film: compared to the trepidation of Carmen Boni, in a rather conventional role, Elena Sangro is a femme fatale who is able to parody herself, or at least capable of critical reflection. She is free and impudent enough to look for and accept a sexual adventure, disenchanted enough to know that if the game gets too rough, it’s better to drop it for another. Divas were passé and the era of the dark ladies hadn’t arrived yet, come to think of it, they were never to find a place in Italian cinema”.
(Paola Cristalli, Cinegrafie, n.7)