A suave, knowing, and caustically witty Louis Jouvet dominates the screen in "A Lover's Return." He plays a ballet impressario who returns to Lyons, the scene of his supposed murder 20 years before. A visit to the family in whose home the "death" occured shows him that no one has changed in the interval but himself. Once a sentimentalist, he now sees things differently through the perspective of time.

The embarrassment of the would be murderers at his return and their unchanging follies provide an excellent background for Jouvet. He moves among them with the authority and command of a modern Monte Cristo. But in spite of the change that has taken place inside him, he is once again tempted to resume the romantic spirit of his youth.

Counterpointed with this theme is the love affair of one young man of the family with a dancer in Jouvet's troupe. Gaby Morlay plays the young man in a bright and cheerful way; Lumilla Teherina is as alluring as only a ballerina can be. But in spite of the excellence of the acting, top honors must go to the script. It wanders from light comedy to near-tragedy a little too easily for comfort, but it handles both moods well. Especially adept is the dialogue, which consists mainly to flip but meaningful Gallic sentiments on life and love.

"The Raven," which shares the bill, is a French mystery about a poison-pen campaign that sets a small French village into turmoil. It contains glimpses of some of the nastiest people ever assembled on one movie lot, and that includes the hero, Dr. German, who is played by Pierre Fresnay. The movie's favorite acting device is the pregnant pause, which is woefully overworked. Moviegoers who have seen "The Thirteenth Letter" will find that it is the same movie, scene for scene. They will also find that the American version is just as convincingly acted and considerably easier on the eyes.