Françoise Rosay had her first important role in Gribiche. Up ‘til that time, Feyder’s love and superstition had her appear frequently in his films, but in a fortuitous manner: small, magnificently acted roles which, in their success, only succeeded in showing the blindness of those who, when referring to her, were unaware of her talent. Gribiche is a transitional work. In the film, Parisian settings meet and are described. It takes place simultaneously within the snob environment of the decorative Arts and in working-class Paris.

Henri Langlois, Trois cents ans de cinéma, Paris, Cahiers du Cinéma / Cinémathèque française / Fondation Européenne des Métiers de l’Image et du Son, 1986

Every Feyder film is a delight, a delight for the eyes and for the spirit. After finding his way with Crainquebille, Feyder would never again fail us. He has obtained the highest degree of visual sense and sensitivity in framing shots. He imbues his interpretations of life with the intelligence of a philosopher and the soul of a poet. No vulgarity cajoles him, he considers every single thing from a sincere angle. Organized and armed as such, Feyder has attained one of the premier positions in French cinema – many even say the fist – while many others muddle about in endless repetitions, a form of regression. Feyder’s new film Gribiche is not cluttered with moral theories, like Visages d’Enfants, nor with metaphysical ideology like L’Image. The novel by Boutet, from which the film was adapted, is a nice little tale of the adventures of a very level-headed boy. (…) A story like this – but can we even call it a story? – was destined to tempt Feyder, friend of the children. He added delightful fantasy, made of minute details, lovely bagatelles, and moving spiritual traits. From a simple fictional idea that took up two hundred lines in a newspaper, he built a world of delicate sensations, a great film comprising humor, emotion, constant attention to elegance and a distinct artistic sense. (…) The role of Gribiche could only have been given to Jean Forrest. This young artist, one of the best we have, made us laugh and cry. He has an extraordinary ability, without attitude or affectation. We hope he will work hard to keep it”.

Cinéa-Ciné pour tous, 49, 15 nov. 1925