Inclubabu
Plot so thin, it passes unnoticed.
Brendon Jones
It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.
Anoushka Slater
While it doesn't offer any answers, it both thrills and makes you think.
lastliberal
An Oscar winner for Best Foreign Film, a Golden Globe nominee, and a César winner for the music, this film is said to be what Rushmore wasn't.Raoul (a very young looking Gérard Depardieu) is a husband who is trying to make his wife Solange (Carole Laure) happy. he thinks he can do it by arranging for Stéphane (Patrick Dewaere) to go to bed with her. She really could care less about either of them.This absurd comedy just keeps getting funnier as the two try everything to improve her disposition. Nothing works. They even bring the neighbor (Michel Serrault) in on their adventure. The three of them eat and discuss her situation while she sleeps peacefully.It is when they go out to the country to work in a camp for poor children that they find Christian (Riton Liebman, a 13-year-old in his first film), a genius who finally makes her laugh.It gets really funny when they can't remember who slept with her last night, and she suggests that she sleep alone. They really don't mind, as their friendship is now more important than her problem.She ends up sleeping with Christian, and natures takes it's course. Well, she was no match for his superior intellect and he played on her emotions until he got what he wanted.If it is possible, the film gets more absurd toward the ending. It was hilarious throughout, but the ending was magnificent.Every actor in this film was superb!
MARIO GAUCI
This Best Foreign-Language Film Oscar winner from France is quite atypical material for such an accolade (though, admittedly, there was not much competition that year): not only is it a sex comedy, but a potentially controversial one involving both a ménage-a'-trois and paedophelia (hence, the title's suggestion of sentimentality could not be farther off the mark)! Being familiar with the equally 'naughty' GOING PLACES (1974) from the same team of writer-director Blier and male stars Gerard Depardieu and Patrick Dewaere, I knew more or less what to expect: the end result, then, is just as entertaining (and overstretched) but also, perhaps, a tad superior. Genuinely original and undeniably very funny, the films sees husband-and-wife Depardieu and Carole Laure going through a crisis because of the latter's perennial depression and resultant frigidity; the former sees a way out by asking perfect stranger Dewaere to become her lover, in the hope of relighting the woman's dormant passion. Still, while the two like each other, they begin to mope over their disservice to Depardieu and, soon, it's back to square one for Laure! The narrative takes an episodic form, wherein the trio first meet a flustered green-grocer – a pre-LA CAGE AUX FOLLES (1978) Michel Serrault – and manage to turn him into a lover of classical music (Dewaere is a Mozart devotee') and, later, a precocious teenage camper (Dewaere is also an instructor of Physical Education) who, picked on by his peers for being the son of an industrialist, is taken under her wing by Laure…and ends up being the one to provide sexual gratification for the unemotional woman, even getting her pregnant! The male stars – who find themselves bonding amid such an unusual turn-of-events – are delightful as the perplexed but earnest lovers; Laure, however, has the difficult task of balancing attractiveness with an ordinary and downright sickly demeanor. Perhaps the biggest visual gags involve the identical sweaters worn by most of the male principals from time to time (Laure gets over her particular hang-ups through knitting in the nude!) as well as the reaction of the boy's parents to his escapade – the mother becomes an amnesiac when she overturns with her car on giving chase (and eventually hooks up with Serrault!) and, following the son's announcement of Laure's impending motherhood by his doing (the woman having ultimately taken employment/residence in their house), the father is reduced to a wheelchair-bound vegetable. Incidentally, the very next day after watching GET OUT YOUR HANDKERCHIEFS, I acquired another well-regarded Blier/Depardieu title i.e. BUFFET FROID (1979) – to eventually go along with two more films of theirs I own but have yet to watch (TENUE DE SOIREE' [1986], albeit in French only, and TOO BEAUTIFUL FOR YOU [1989])
nemo_cinema
I am still wondering how I managed to sit through the entire movie. Story - bizarre.... Acting - no comments please .....A bizarre relationship between a 13 old kid and an imbecile married woman. All she does is knitting sitting topless. An equally imbecile husband who finds the third imbecile in the movie to make love to his wife. A bored housewife who falls in love after a car wreck; it was upside down but she was intact enough to have sex with the first stranger that passes by. Come on!!!!! This is French slapstick for you folks.... I have no idea how come people give it a rating over 2-3. I rated it 1/10 because I couldn't rate it lesser. in my opinion it's -7 out of 10.
Hera-8
This movie is quite similar to the American film "Rushmore," in that both films portray sensitive, intelligent young teen boys becoming infatuated with adult women twice their age. Major difference: Blier the guts that the director of "Rushmore" did not have."Rushmore," like most films about teen boys having crushes on older women, took the easy way out. The boy falls madly in love with his teacher, but the romance is never consummated. Instead, he encourages her, at the end of the film, to continue her affair with a much older married man. So, the message is the older men have the right to take advantage of younger women, yet not vice versa?In Blier's film, the relationship of boy and his adult crush is consummated. Therefore, the film breaks the mold. "Rushmore" merely follows a traditional (and just plain worn out) plot pattern.
