It is a cinema built on beautiful places, beautiful cars, pieces of bravery and numbers of actors.Let's come rather to the very honest quality of Georges Lautner's film, from whom obviously we should not expect a balanced and realistic plot, which is of proven classicismĮach of these segments is solid and gives the spectator its content: grand residences of the Côte d'Azur, beautiful viewpoints of the Corniche, casino halls, picturesque chic of the streets of Nice lowered convertible ((Lotus Seven ''Caterham'') and Rolls-Royce ten sequences most of which are funny and which are irrigated with the sarcastic verve of a Michel Audiard in great shape and, in addition to the radiant presence of a radiant Belmondo, ten faces of French cinema at the time, of those supporting roles whose species was still fertile: Michel Galabru, Claude Brosset, Michel Beaune, Georges Géret, Jean-François Balmer, Charles Gérard, Michel Peyrelon, Venantino Venantini, Nicolas Vogel, Catherine Lachens. Other times, other manners!, a little routine but very effective. We can also think that if such films, where a very marginal police commissioner cleans up the quagmire of scoundrels in a strong way, were made today, great humanist consciences would not be lacking not to qualify them as scandalous, crypto-fascists, making the bed of the National Front (which is the supreme abomination, well before the terrorist massacres of Paris yesterday, of Brussels today).īut almost forty years ago, we didn't think that being executed between hardened thugs and rotten cops was something very serious and - need we say it? - we even thought that was an excellent thing and a welcome clean-up. ![]() a laughing woman who doesnÂt bother with metaphysics or scruples.casual, darling of the ladies, who distributes pirouettes and mandales with as much talent as ease. Add to that the powerful dialogues of Michel AUDIARD and we obtain a nice entertainment whose formula has already been known for a long time but which here works quite well.Ĭop or rogue, in 1979, it was the moment of maximum carburation of French entertainment cinema and the peak of the popular and commercial success of Jean-Paul Belmondo, charmer, talker, Moments that we have seen a hundred times and that we never tire of seeing again, because, despite the repetitive evidence of the process, we are always seduced by this vitality. A few stunts too: a descent in zip lines and a little trip in a Fiat in the streets of Nice in a driving school car alongside Philippe CASTELLI who is excellent. Of course there are a few chestnuts that leave (it's Venantino VENANTINI who takes them). Nothing very new in this film directed by Georges LAUTNER, Belmondo is connected to a hundred thousand volts and makes his legendary banter speak. As he says himself, he plays policeman and thief by playing a half in each camp. Either he is Stanislas Borowitz or he is Antonio Cerruti. He has fun passing either side of the barrier. ![]() ![]() ![]() But Bà © bel does not stop there, he also tries to dismantle a gang. He plays the role of a police inspector sent to Nice to investigate the death of another police inspector. In “Flic ou voyouâ€, an ultra popular police comedy from the end of the 1970s (which attracted close to 4 million spectators in cinemas), Jean-Paul BELMONDO is in a Olympic form and is unleashed as rarely.
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