When most people retire they are lucky to walk away with a clock
or wristwatch.
Pierre Mondy's work colleagues are a more
considerate bunch and make him a present of a call girl -
a far kinder way of helping the retiree to fill the
empty days that lie ahead...
Whilst it has a habit of veering dangerously close to a cheap
American sex comedy, Le Cadeau
manages to rise above the familiar clichés and is, over all, an
engaging and entertaining little comedy.
Pierre Mondy brings humour and pathos to his portrayal of a man struggling to bring some passion back
into his life (although you'd have thought that wouldn't be too
difficult if you were married to Italian beauty Claudia
Cardinale).
The storyline is pretty weak, marred by a secondary
subplot that makes little, if any, sense, but there are some good jokes,
Michel Lang's direction has a few inspired moments,
and the beautifully shot location sequences in Venice add a touch of
class.
Previously, Lang had had some success with his lowbrow comedies
À nous les petites Anglaises! (1976) and
L'Hôtel de la plage (1978),
but, his cinema career on the wane in the 1980s, he switched over to
television in the 1990s.
The above content is owned by filmsdefrance.com and must not be copied.
Film Synopsis
When banker Grégoire Dufour announces his decision to take early
retirement at the age of 55, his colleagues decide to offer him the
ultimate leaving present, a call girl. On a train bound for Milan
for a final business trip, Grégoire meets Barbara, the woman
of his dreams, and allows
himself to be lured to Venice for a rapturous extra-marital
fling. Unbeknown to him, his successor at the bank is also in
Venice, with the intention of seducing Charlotte, his son's
ex-girlfriend...
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.
In the 1920s French cinema was at its most varied and stylish - witness the achievements of Abel Gance, Marcel L'Herbier, Jean Epstein and Jacques Feyder.
A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.