Quartier V.I.P. is a perfect
example of the truism that a great cast does not necessarily result in
a great film, bien au contraire.
The idea that you can throw a collection of well-regarded actors at a
mediocre screenplay and end up with anything worth watching has been
shot down spectacularly in recent years but rarely as effectively as in
this tepid comedy consisting of a tiresome concoction of
recycled gags and the most poorly constructed of storylines.
The risible screenplay is made almost unbearable by the insipid direction and some
appalling examples of histrionic ineptitude (the prime example being
Jean-Claude Brialy's mincing queen, enough to set your teeth on edge
and cause you to choke on your own bile). Although he is far
better rated as a singer than an actor, French cultural icon Johnny
Hallyday has shown in some recent films - notably Patrice Leconte's L'Homme
du train (2002) - that he does have some talent in the
dramatic arena, but here he looks positively comatose, and, given the
material he has to work with, who can blame him? The only
spectators who are still awake and watching by the time the closing
credits roll are those with an exceptionally high boredom threshold
or a dangerously high level of caffeine in their bloodstream.
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Film Synopsis
Alex is a prison warden who carries out his duties professionally,
spurning the crooked activities that some of his colleagues indulge
in. But when he is moved to a new prison, he is made an
offer that he can't refuse. The wealthy businessman Bertrand
Fussac has just been incarcerated for fraud and his wife Claire has
added to his woes by stealing a large sum of money from him.
Bertrand offers Alex a fortune if he will help recover the
money. The plan is that Alex will present himself to Claire as a
businessman, win her confidence, and persuade her to invest the money
she has stolen in bogus investments. Despite his scruples, Alex
agrees to help Bertrand...
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.
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.