Myriam Nys
Somewhere in Paris the leader of a shadowy espionage service realizes that he has enemies who covet his job and power. He decides to tether a goat to a tree, hoping that the bleating will attract the tiger(s) involved. The human goat chosen for this exercice is some random citizen, to wit a musician with an excellent opinion of himself and a sad tendency to cuckold his best friend. Will the scheme succeed ? And will the goat survive ? "Le grand blond" is another one of those classic, unmissable French comedies. At times it threatens to devolve into a (sex) farce, but it is saved by a nicely cynical plot, razor-sharp dialogues, lively performances and an excellent musical score. Lovers of female pulchritude can also gaze on Mireille Darc - more, they can gaze upon Mireille Darc IN THAT BLACK DRESS. THAT BLACK DRESS has achieved cult status in France - you'll get why as soon as you see it.There is a lot of psychological wisdom to be found in the basic premise of "Le grand blond", to wit that any human life, however mundane and unremarkable, can look ominous, dangerous and duplicitous, on condition that you study it with the firm conviction that it is indeed ominous, dangerous and duplicitous.
gradyharp
The British films have their flavor with mysteries but the French have the Gallic way of infusing humor in the most unlikely manner that the mysteries become terrific platforms of French humor at its finest. Film Movement is re-releasing this 1972 gem of a film and it hasn't lost a bit of its allure. Written by Francis Veber and writer/director Yves Robert this little pastiche is a treasure. Two factions of the French Secret Service (Jean Rochefort and Bernard Blier) involve a seemingly normal but hapless orchestra player, François Pignon (Pierre Richard), into their battle as one side uses him as a decoy by being identified as a super secret agent.. Soon, agents are all over the place, and one of them, Christine (Mireille Darc), is sent to seduce François. Meanwhile, François has his own problems, tangled up in an affair with his best friend's wife.This is French comedy/mystery at its best and it is just as radiant today as it was in 1972!
ElMaruecan82
"Each citizen has a right to privacy" says the ninth article of French code penal. A nice touch from the director, Yves Robert, to remind us at the end of the film that privacy is a luxury that is not necessarily guaranteed just because we live in a democracy, and one might never be too careful that his secrets could be unveiled. Still, let's suppose now that the government needs to know some secrets. Suppose that the person to spy on can be a threat? Now, suppose that he's thought to be dangerous, but in reality, he's just an average schmuck no better, no worse than the other fellow. That's an interesting basis of comedy, isn't it? Now, why would an average schmuck be spied on? Let's say he's used as a booby-trap to prove one agent's incompetence? Why? Well, imagine an Agent 1 wants to get rid of his second in command? Well, now you have the perfect set-up for one of the most iconic French comedies of errors. Wait, there's still one piece of the puzzle missing, they still have to pick a random guy in an airport, and chose him as the unfortunate pawn of a deadly chess-game. Who? A tall black man with a green collar? An old man? A young… wait, who's coming here? A tall blond man with a black shoe … in one foot, and a reddish brown in another, it's so peculiar it looks premeditated, it's perfect, and the guy is the master spy, and the perfect booby trap and the most memorable entrance of a character in French cinema.In French Cinema, there is a fistful of movies whose only mention of their titles is enough to bring back a particular imagery, music, some iconic shots, forever rooted in people's memory. "The Tall Blonde with a Black Shoe" is one of these immediately evocative titles, Pierre Richard's iconic entrance in Orly's escalator, Mireille Darc's black dress with the naughty buttock cleavage (the French equivalent of Marylin Monroe's white dress), the rivalry between two veteran actors: Jean Rochefort and Bernard Blier, respectively #1 and #2 of French Secret Services, Vladimir Cosma's immortal Pan's flute theme played by the no-less legendary George Zhamfir, and so on and so forth. Everything screams 'classic!' and for reasons."The Tall Blonde with a Black Shoe" 's particular flavor relies on two comedic ingredients: people taking the most peculiar things with an absolute seriousness, one man totally oblivious to the chaotic situations he creates around him and a goofy screwball thought to be a genius, three premises combined in one film, whose abundance of gags is never tarnished. The center of this oddball universe remains Pierre Richard in the most defining role of his career as François Perrin, the 5'10'' tall man with curly blonde hair and two unsuited shoes, the quintessential funny-looking character.What is remarkable in Pierre Richard's performance is the way he embodies the natural goofiness of the character and yet remains straight all through the movie, he's either the Auguste clown causing trouble to a bunch of white-faced clowns around him, or he's the straight man of a grotesque masquerade. It's not surprising that the film was co-written by Yves Robert and Francis Veber, the latter would know how to use other actors' talent to highlight Richard's comedic appeal. But here, everyone is so damn serious yet everything seems so crazy and the film's laughs plays in an almost surreal level, as we follow the adventure of François Perrin.Speaking of Perrin, It's interesting to note that he's the only one with a normal name while all the others are named from cities, to avoid any confusion, the writers took these precautions and exploited him for pure laughs as there are two thugs named Poucet and Chaperon a reference to two fairy tale characters, the film is like a timid parody and oddly enough, it works. In "The Tall Blonde", all the actors play their parts seriously and the laughs don't come from Perrin's weird situations but from the way they're interpreted. It can get a bit repetitive in the first act during which they bug his home, and follow him in his most intimate moments with Paulette, Maurice's wife, and Maurice his best friend played by an irresistible Jean Carmet.The film takes a brilliant turn during a hilarious symphony sequence featuring the wife, the lover, and the cuckolded husband in the instruments and Yves Robert doing a brilliant cameo as the conductor, the laughs reach their pinnacle with the unforgettable evening at Christine's house. Relying on Richard's comical talent and not without some ad-libs, the film doesn't avoid the use of pure slapstick comedy allowing us to take a break from all this sophistication displayed in the previous scene. And while the film doesn't try to be funny every time, it remains consistent in quality. And of course, even indivisible element of the film, the catchy score of Vladimir Cosma, probably the music that would pave his way to glory.Asked to make a sort of parody of James Bond themes, Cosma chose to follow his instincts instead of these advices, and dig in his Slavic background to come up with this Soviet-like little tune, not too oriental to be exotic, but catchy enough to be forever associated with the film. While Veber disagreed with the music's choice, Robert kept it, and as it was pointed out in the making-of, the music fitted perfectly the film as it sounded like a sort of Gypsy Dance to Death. I didn't know what it meant, until I remembered the parts where the first shots were fired. I thought it was over the top, but after a second thought, I guess they perfectly captured the spirit of a film that should not be taken too seriously.And we all know, from the film, the danger of taking stuff 'too seriously'.
