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The working title of this film is Monsieur Cognac. ...

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The working title of this film is Monsieur Cognac.

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PERSONAL & COMPANY INDEX CREDITS

A Harold Hecht Production

Joseph LaShelle

Dir of photog

Based on the short story "I Married a Dog" ("Monsieur Cognac") by Dorothy Crider (unpublished).

Alternate Title:

Monsieur Cognac

Premiere Information:

Philadelphia opening: 27 May 1964

Monsieur Cognac, a poodle star of French films, runs away from his owner, Giselle Ponchon, also a film star, and meets Terry Williams, an American musician working in Paris. Terry and the dog, who loves liquor, engage in an all-night drinking spree, and when Giselle and her father finally find the poodle with Terry, Giselle and Terry fall in love. They marry despite the objections of her father, but Cognac becomes jealous of Terry, and the clever dog's scheming makes a shambles of the wedding night as Terry drinks a sleeping potion intended for Cognac. Giselle refuses to leave the dog behind for a honeymoon, and she and Terry part. Terry solves their problem by arranging a romance between Cognac and Pink Poupée, a female poodle, and he and Giselle are ...

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Monsieur Cognac, a poodle star of French films, runs away from his owner, Giselle Ponchon, also a film star, and meets Terry Williams, an American musician working in Paris. Terry and the dog, who loves liquor, engage in an all-night drinking spree, and when Giselle and her father finally find the poodle with Terry, Giselle and Terry fall in love. They marry despite the objections of her father, but Cognac becomes jealous of Terry, and the clever dog's scheming makes a shambles of the wedding night as Terry drinks a sleeping potion intended for Cognac. Giselle refuses to leave the dog behind for a honeymoon, and she and Terry part. Terry solves their problem by arranging a romance between Cognac and Pink Poupée, a female poodle, and he and Giselle are reconciled.

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Legend

Viewed by AFI

Partially Viewed

Offscreen Credit

Name Occurs Before Title

AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.