There is a moment when most of the characters stop to sing "La Marseillaise". This may have been Renoir's way of showing his sense of love and patriotism for his country. It may also have been included to remind his French audience that he had also previously made a film about the French Revolution and the creation of the national anthem.

French Can Can was cut by about fifteen minutes when it originally was released in the United States. For a film of its time, it is quite risque with a couple of scenes of semi-nudity as well as a couple of bedroom scenes, one of which shows that while Jean Gabin wore a nightshirt to bed, Maria Felix had nothing between her and the covers. In an indirect way, Godard's Contempt is the new wave version of French Can Can, again linked with Piccoli in both films. Instead of using the national anthem, Godard bathes Brigitte Bardot with Piccoli in red, white and blue lighting, the color of the French flag. But setting show business stories and intellectual concerns aside, for Renoir and Godard, the essential reason for the invention of cinema was to film hot French babes in their underwear or as nude as possible.

I'm Going Home is a film of quiet glories. De Olivera steps back to observe Piccoli going through his routine at his favorite cafe, or signing autographs for fans. While conversing with his agent, the camera focuses on Piccoli's feet, clad in a new pair of shoes. Parts of the film are seeing Piccoli performing excerpts from Ionesco's Exit the King and Shakespeare's The Tempest, plays featuring older men of royalty in decline. De Olivera is still active at age 96. The film was inspired by an incident in de Olivera's career. If Piccoli's aging actor may be shaky in his performances, de Olivera displays a sureness of cinematic expression of a filmmaker at his peak.