Madame Claude, directed by Just Jaeckin, explores the life of the infamous Fernande Grudet, better known as Madame Claude. Known as the real-life queen of Paris’s underground sex industry, she rose to prominence in the 1960s and 1970s as the head of an elite escort service catering to the rich and powerful. *Madame Claude* is both a critique of the Parisian elite and an exploration of the underbelly of power and prostitution. The film follows her rise to power, maneuvering through Paris’s high society. She must maintain control over her business and her girls while navigating her relationships with powerful men, law enforcement, and the media.

Françoise Fabian plays the role with a calculated mix of elegance and emotional detachment. Madame Claude is not merely a madam running a prostitution ring; she is a powerful businesswoman who views her trade as a professional enterprise. She carefully selects and trains her call girls to meet the standards of her elite clientele, ensuring that discretion and class are maintained at all times.The film delves into her life, offering a glimpse into a world of wealth, influence, and corruption, while also portraying the vulnerabilities and complexities of its central character. Set in a time of social and political change.

*Madame Claude* addresses several significant themes, including power, sexuality, and the intersection of legality and morality. The movie examines Madame Claude and her call girls, navigate a world wilst commodified, while also finding ways to assert their own agency. Another prominent theme is the corrupting influence of power. Madame Claude’s business is deeply intertwined with political and corporate power structures, illustrating how the rich and powerful manipulate society’s rules to serve their own interests. The film also touches on the complicity of law enforcement and the media, showing how those in power turn a blind eye to corruption when it benefits them.

The tension between secrecy and exposure is central to the film. Much of Madame Claude’s power stems from her ability to keep secrets—both her own and those of her clients. However, as the film progresses, it becomes clear that the walls of secrecy are beginning to close in.  David Evans, a photojournalist, investigates the secrets of Madame Claude’s business. His growing interest in her world creates a sense of intrigue and suspense, suggesting that her glamorous empire might not be as unshakable as it seems.

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Originally a stage musical, Gentleman Prefer Blonds director Howard Hawks brought in choreographer Jack Cole to direct the film’s stage performances. Charles Coburn, Taylor Holmes, Tommy Noonan, Elliot Ried, Norma Varden and George Winslow star as supporting cast. Songs were added just for the movie, written by the team of Harold Adamson and Hoagy Carmichael.

The movie’s principle Blond bombshell Lorelei Lee is engaged to marry a nerdy and naive Gus Esmond, played by Tommy Noonan, but he comes from old money and Esmond Sr doesn’t think that a showgirl is a suitable wife for his son. He keeps his son from sailing away to Paris to marry Ms. Lee and when she goes ahead on the ship with a promissory note for expenses, he has a private eye Ernie Malone, played by Elliott Reid tail her.

Lorelei is partial to diamonds and the ship has a diamond tycoon Sir Francis Beekman, played by Charles Coburn, on board. He flirts with her relentlessly despite being married. He manages to demonstrate a python’s hold on Lorelei, just when Malone snaps some incriminating photos. Dorothy who is accompanying Lorelei to Paris, catches him and hatches a plot to get the misleading photos away from him before they can be passed onto Esmond Sr. She and Lorelei drug him and get the film. When Sir Francis learns that he almost had proof of his infidelity in the wrong hands, he gives Lorelei his wife’s diamond tiara in thanks.

Once in Paris, the girls have to work as the promissory note has been withdrawn by Esmond Sr. Lady Beekman reports her tiara stolen and Lorelei is accused. Ready to hand it over, she can’t find the evidence. Meanwhile the Esmonds, Jr and Sr have shown up. And Malone and Dorothy are in love, but don’t know it.

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