Taking an anthropological approach, this article interprets Pagnol's critically acknowledged classic as a reinvention of a carnivalesque ritual practised in France from the late middle ages through the late 1930s, when ethnographers observed its last vestiges. By linking La Femme du boulanger (The baker's wife, 1938) to contemporaneous debates over gender, national decadence, and the definition of French cultural identity, I argue that the film recycles the charivari's long-standing function as a tool of popular protest against social and political practices regarded as detrimental to the welfare of the nation. In the context of the Popular Front, Pagnol's charivari ridiculed divisive partisan politics pitting Left against Right, symbolically purged class conflict from the social body, and created a new form of folklore that served as a focal point for the communitarian ritual of movie-going among the urban working and middle classes. In so doing, the film promoted the ongoing shift in public support away from the Popular Front in favour of a conservative ‘National Union’ government under Prime Minister Edouard Daladier, who in 1938–9 assumed the role of France's newest political patriarch.