Bébés à gogo (1956)
Directed by Paul Mesnier

Comedy
aka: Babes a GoGo

Film Review

Abstract picture representing Bebes a gogo (1956)
The main thing to note about this cheeky little comedy is that it was one of the first in which France's supreme comedy legend Louis de Funès had a substantial role.  Over the previous decade, de Funès had cropped up in around ninety films, most often on screen for barely a few minutes, but in Bébés à gogo he gets one of his first fully fledged character roles, and he is hilarious as a company representative actively fuelling France's baby boom of the 1950s.  Even though he proves to be the star of the film, de Funès had to content himself with third billing, after Jane Sourza and Raymond Souplex, another notable pair of comedy performers made famous by their popular radio series Sur le banc and its subsequent film adaptation.  The film is directed by Paul Mesnier, whose previous work includes the Belle Époque drama La Kermesse rouge (1947).

Immediately after appearing in this film, Souplex was offered his most celebrated role, as Inspector Bourrel in the popular long running French television crime series, Les Cinq Dernières Minutes, so he is far better known today as a dramatic actor.  One of the delights of Bébés à gogo is that it reveals Souplex's other side, his well-developed penchant for comedy.  In his first scene with de Funès he is turned out as Louis XIV, probably the most effective way he could devise to prevent his comedy rival from totally stealing the focus from him.  The other popular comedy performer who features in the film, Jean Carmet, scarcely gets a look-in.  Apart from a few dreadful musical numbers and its ever so slightly disturbing premise (manufacturing babies for profit), Bébés à gogo is a comedy delight that makes an effective satire on the idiotic incentives to encourage 'familles nombreuses' in post-war France.
© James Travers 2015
The above content is owned by frenchfilms.org and must not be copied.

Film Synopsis

Stéphane Petitbourgeois, an accountant at a large department store, shares his modest apartment with his wife Isabelle, daughter Pat, son-in-law Hubert, and the latters' brood of nine children.  One day, Stéphane is visited by a publicity executive for a firm of baby products, Célestin Ratier, and is told that he stands to win a generous prize if he acquires three more grandchildren before his fiftieth birthday.  Instead of berating his daughter and son-in-law on their fertility, as he has been for the past ten years, Stéphane encourages them to go on churning out babies, confident that he will win his prize of a dream house in the country within three years.  Unfortunately, Hubert's capacity for making babies suddenly appears to have deserted him...
© James Travers
The above content is owned by frenchfilms.org and must not be copied.


Film Credits

  • Director: Paul Mesnier
  • Script: Paul Mesnier, Marcel Franck (play)
  • Cinematographer: Victor Arménise
  • Music: Louis Gasté
  • Cast: Jane Sourza (Isabelle Petitbourgeois), Raymond Souplex (Stéphane Petitbourgeois), Louis de Funès (Célestin Ratier), Jean Carmet (Hubert), Andréa Parisy (Pat), Marthe Alycia (Daphnée), Arlette Massart (Jeannette - la bonne), Andrée Servilanges (Geneviève dite 'Mademoiselle'), Saint-Granier (Le présentateur), Florence Blot (Grassillac de Morvan-Lohro), Bernard Revon, Valérie Vivin, Pierre Vernet, Max Desrau, Cécile Eddy
  • Country: France
  • Language: French
  • Support: Black and White
  • Runtime: 86 min
  • Aka: Babes a GoGo

The best films of Ingmar Bergman
sb-img-16
The meaning of life, the trauma of existence and the nature of faith - welcome to the stark and enlightening world of the world's greatest filmmaker.
The very best American film comedies
sb-img-18
American film comedy had its heyday in the 1920s and '30s, but it remains an important genre and has given American cinema some of its enduring classics.
The best French films of 2018
sb-img-27
Our round-up of the best French films released in 2018.
The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
French cinema during the Nazi Occupation
sb-img-10
Even in the dark days of the Occupation, French cinema continued to impress with its artistry and diversity.
 

Other things to look at


Copyright © frenchfilms.org 1998-2024
All rights reserved



All content on this page is protected by copyright