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.
© James Travers 2015
The above content is owned by filmsdefrance.com and must not be copied.
Next Yves Robert film:
Ni vu, ni connu (1958)
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....
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.