Les Hommes ne pensent qu'à ça (1954)
Directed by Yves Robert

Film Review

Les Hommes ne pensent qu'à ça was the first feature-length film to be directed by Yves Robert, a successful actor who had made two short films a few years previously.  Likeable as it is, the film is completely overshadowed by Robert's next offering Ni vu... ni connu (1958), and the string of box office triumphs that followed - La Guerre des boutons (1961), Le Grand Blond avec une chaussure noire (1972), Un éléphant ça trompe énormément (1976) and La Gloire de mon père (1990).  Already in his first feature Robert's penchant for comedy of all kinds - mostly  parody, slapstick and farce (Feydeau on rocket-propelled rollerskates) - is readily apparent, and we shouldn't be too surprised that Robert was one of the first film directors to make full use of Louis de Funès' formidable comic talent, many years before the actor became a humongous star.

Here, Louis de Funès is at his most outrageous as a wildly jealous Spanish suitor to a Russian countess (here, the funniest thing about him is his accent, an odd mix of Spanish, Italian and Croatian with a dash of what sounds like Klingon).  The film's comedy highlight is a Feydeau-like chase which ends with de Funès pursuing his rival (Jean Bellanger) over the rooftops of Paris and then into Nadine Tallier's bathroom.  This and some of the film's sillier escapades would not be out of place in a silent comedy of the 1920s and the film is, if nothing else, a lively homage to the golden age of slapstick.  As welcome as de Funès' presence is, it is another comedy giant who makes the biggest impression - Jean-Marie Amato, absolutely revelling in a part that was obviously written for him, an amiably Mephistophelean Don Juan.

Jean-Marie Amato is a name that is all but forgotten today but in the 1950s his was one of the most recognisable voices of French radio, thanks to his leading role in the phenomenally popular series Signé Furax.  Amato was better known for his stage work than his films, and it was in the theatre that he had his biggest successes.  Les Hommes ne pensent qu'à ça was the first film in which Amato had a credited role and it is arguably the one in which he is at his best, perfectly partnered with the more down-to-earth Jean Bellanger, who incidentally scripted the film.  Although Amato appeared in several films afterwards (always in minor roles), stardom came only when French radio gave him the role for which he is best known, that of the criminal mastermind Edmond Furax.  The series ended when Amato committed suicide in 1961, aged 35.  The main reason for watching Yves Robert's first film - daft and aimless though it is - is to enjoy Amato's bravura comedy turn.  The 'film within a film' sequence in which his Don Juan wages war against a particularly malicious Casanova (and invariably comes off worst) is a riot of non-stop hilarity that leaves you wondering why someone who was as charismatic and effortlessly funny as Amato never became a star of French cinema.

Film Synopsis

Alfred is madly in love with Nicole, a pretty assistant in a dairy shop, but he is too shy to approach her.  Taking pity on the poor man, Don Juan appears and takes it upon himself to instruct Alfred in the delicate art of seduction.  After several mishaps, Alfred finally manages to repay his tutor's faith in him by stealing the affections of a Russian countess, much to the chagrin of the latter's jealous Spanish husband, Célosso.  As the latter goes chasing after Alfred, Don Juan disguises himself as his pupil so that he can add Nicole to his list of amorous conquests....