[The] romantic commerciality of Stavisky … is only emulsion deep. Like most of Resnais' previous films, this one is subtly deceptive….
Stavisky … succeeds magnificently (as I've already suggested) as commodity: as a romantic evocation of the lost worlds of the twenties and thirties, entre deux guerres, it clearly out-Gatsbies [Jack Clayton's film version of The Great Gatsby]….
[The] parallel with Gatsby extends deeper than their evident values as commodities in the film marketplace, for [Jorge] Semprun's script manages to catch some of the same mythic power which has made the novel a masterpiece (and which entirely eluded Jack Clayton's film)....
(The entire section is 477 words.)