Provided you're not violently allergic to Tino Rossi bursting into song at any and every pretext, and provided you can overlook simple-minded melodrama built around (for the period) standard, simplistic oppositions between sleazy, city-slicker Parisians and wholesome Provincials (in this case Corsicans, some of them not averse to a spot of banditry, which adds to the authentic "local colour" of the film), then this film has one or two qualities that, to some extent, make up for its overall silliness. There are several quite beautifully lit and filmed scenes, with an almost startling sultriness in the key love scene between our local hero equipped with golden vocal chords (Bicchi/Tino Rossi)and the Parisian "femme fatale" (Xenia/Josseline Gael) who entices him into bed (upon which, fade to black, of course). This film is the "pendant" to "Au son des guitares" (1936), in which Tino (playing a Corsican fisherman) is foolish enough to follow a Parisian siren/tramp back to Paris, leading to the predictable catastrophes (poverty, homelessness), momentary success (cabaret singer), and eventual return home to happiness in Ajaccio...