Françoise Barnier, the film's heroine, is a mother. One day, she stole something. She was in dire straits but no more so than usual. She was not in debt. She had always refused the degradation of excessive debt and charities, attempting to live in line with the rules laid down by society and the law. We follow her journey through the judicial institution. Here, two ideas of justice and law collide.

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The inspiring story of a 17th century French priest who reluctantly became involved in educating poor children and in the process became the Founder of the Brothers of the Christian Schools, an order known today as the De La Salle Christian Brothers. Actor Mel Ferrer gives a heartfelt performance as St. John Baptist de La Salle, a priest from a wealthy upper-class family who gave up everything to serve the needs of educating poor children, facing tremendous opposition along the way.

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Flaubert writes from the hero St Julian the Hospitaller: 'He knew that was hunting in some country since an indefinite time, through the very fact of his existence, as everything seemed to occur with the ease one experiences in dreams.' This film follows this dream and the indeterminacy of time, this action place, particular, we could outline this way: the metamorphosis of a child in a parricide, then from parricide in a saint. This action, Flaubert took it from 'The Golden Legend' and stained glasses in Rouen then made it a tale. The film replays the story and mainly follows Flaubert's text. The images's meaning, the more than musical's film structure, with Flaubert's text, is the one of a free loyalty, a correspondence.

Under cover of a disguise, Santa approaches Saint-Anthony's hut and, via various tricks, sets out to try his faith. Will good triumph over evil?

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