Papy fait de la résistance (1983)
Directed by Jean-Marie Poiré

Film Review

With its all-star cast and impressive production values (including lavish sets and close attention to period detail), Papy fait de la résistance resembles that earlier great French war-time comic classic, La Grande vadrouille (1966).  The similarity might have been even closer since Louis de Funès was originally cast in a leading role in the film, but sadly died before the film went into production (hence the dedication to the great comic actor at the start of the film).

The film was developed from a stage play of the same title written by Jean-Marie Poiré and Martin Lamotte (the latter of whom takes a starring role in the film).  With a huge budget of 30 million French francs (hence the film's tagline: Le film qui a couté plus cher que le débarquement), the original script was rewritten to include some action stunts and generally create a greater impression of scale.  The film was directed by Jean-Marie Poiré, who is now perhaps best known for his 1993 film, Les Visiteurs .

Popular comic actors such as Christian Clavier, Michel Galabru and Gérard Jugnot were cast in leading roles, with Jacqueline Maillan making a welcome return to cinema in a part that appears tailor-made for her.  Jacques Villeret makes an all-too brief appearance as Hitler's lovelorn half-brother, whose Julio Iglesias-like love-song provides the film's most hilarious moment.  As if that were not enought, the film is peppered with numerous cameo appearances by popular French film actors, including Jean-Cluade Brialy, Michel Blanc, Thierry Lhermitte and Josiane Balasko.

Whilst not as well-structured and satisfying as La Grande vadrouille, Papy fait de la résistance still manages to be an enjoyable film, mainly on the strength of the larger-than-life comic performances.  Lacking a coherent narrative, the film is probably best viewed as a series of comic sketches.

When it was first released in 1983, Papy fait de la résistance was berated by the critics and even condemned for its heretical portrayal of the French Resistance. Jean-Marie Poiré's response was that the film was not a comedy about the Resistance, but rather a parody of the war film genre.  Although the film has since become a comic classic in France, it was not a huge commercial success, partly because it was released at the same time as Le Marginal , a big-budget detective thriller starring iconic actor Jean-Paul Belmondo.

Film Synopsis

France, 1940.  The Bourdelles are a family of gifted musicians who are so patriotic that they refuse to give any more public recitals until their country, now under Nazi occupation, has been liberated.  André Bourdelle is soon a proud member of the French resistance, but his heroic exploits end in a violent death.  Three years on, the Bourdelles must yield to a further ignominy, being forced to live in the cellar when their grand Paris residence is requisitioned by the German army.

General Spontz, the commander in chief, takes an immediate liking to his new home, and is soon making romantic overtures to the Bourdelles' attractive daughter Bernadette.  Meanwhile, the latter's mother, Héléna Bourdelle, and grandfather, Papy, are busy lending whatever support they can to the Resistance, and this includes hiding a young English airman.  Most courageous of the Bourdelle clan is the son Guy-Hubert, who undertakes the most extraordinary acts of defiance against the Nazis under the pseudonym Super Résistant, whilst passing himself off as an effeminate hairdresser.

The Bourdelles' main enemy is the erstwhile concierge Adolfo Ramirez, a nasty collaborator who threatens to denounce them to the Germans.  Luckily, they have General Spontz on their side.  When it is announced that Marshal von Apfelstrudel, one of Hitler's senior aides, is coming to Paris, a plot is soon set in motion to assassinate him at a banquet given in his honour.  Unfortunately, this happens to involve blowing up the Bourdelles' beautiful house...