Auf Freiersfüßen

I was lucky enough to see twice this excellent film -and YOYO- in Buenos Aires, 20 years ago. Two main influences can be traced down in this film, which is like a great homage to silent comedies: first, of course, as Etaix himself put it, that of Buster Keaton (SEVEN CHANCES, SPITE MARRIAGE, CAMERAMAN), but also, it must be said, that of Harry Langdon (TRAMP, TRAMP, TRAMP & LONG PANTS). Just see and compare, for instance: the scene when the hero carries upstairs in his arms, step by step, the fainted woman (LONG PANTS); his difficulties to manage her body and to put her to bed (SPITE MARRIAGE); the hero driven mad by amour fou, covering the walls of his room with the photos of her girl (TRAMP, TRAMP, TRAMP), following her (CAMERAMAN), etc.

Etaix proves himself the true heir to Buster Keaton in this, his first feature. This is just a fantastic series of escalating gags. It's just a pure joy to watch, from beginning to last. Everything works, and the laughs just build and build. Etaix stars as an idle young man (he was in his mid-30s at the time the film was made). His parents tell him it's time to find a wife and get the Hell out of their house. Etaix doesn't know a thing about courting women. At first he tries observing the many smooth operators across Paris, but, whenever he tries to copy them, it comes off as disastrous (a lot of resemblance to Keaton's Seven Chances in this portion of the film). The film launches into the stratosphere when Etaix finally meets a willing woman, Laurence Ligneres, and wishes he hadn't. Ligneres is the single most annoying woman in existence, with an enormous, obnoxious laugh, the immediate expectations that Etaix should drop all kinds of cash on her whims, and a penchant for getting pass-out drunk. Ligneres is so perfect. You want to run her over with your car, but, speaking as a viewer, she's really funny at being that annoying, as opposed to just being annoying to watch. For Etaix it is a different story, and his deadpan attempts to get rid of her are hysterical. The final part of the film has Etaix falling head over heals in love with a famous songstress (France Arnel), and he goes to great lengths to get backstage to see her. For fans of silent comedies, this is a must-see. It couldn't exactly play as a silent - Ligneres eardrum piercing laugh would be lost if it were - but the gags are very reminiscent of Keaton's and Chaplin's, while still feeling fresh. It's not as ambitious as what Tati was doing, but it's pretty much perfect.

Recently, Turner Classic Movies showed a bunch of films by Pierre Étaix--the first time they've been seen in this country in decades. Because the films have been tied up in legal disputes, most Americans have no idea who Étaix is--and I was quite curious. So, I recorded them and have watched them over the last few weeks. "The Suitor" is the last of his films they showed--and so I have come to the conclusion that his films, for me, are only modestly funny. If you like the films of Jacques Tati (which I don't), then you'll probably like the droll films of Pierre Étaix.

When the film begins, you see that Pierre is a nerdy guy who spends most of his times studying astronomy. His parents are concerned--he's getting older and should settle down and get married. The problem is that he is socially inept--though he is willing. Throughout much of the film, the character wanders about Paris--watching men picking up women and then he tries to imitate them. In every case, it's a disaster and I really, really liked the lipstick bit. However, some of the subplots went on WAY too long--particularly the obnoxious lady who laughs too loudly. Much of the film was very subtle and done much like a silent movie--but she didn't fit in at all. A little of her might have worked--using her as much as they did was, in my opinion, a mistake. She was funny but after a while she was just annoying--and NOT in a good way.

For me, this is a decent film but one that didn't excite me. However, it is important to note that many people LOVE Jacques Tati and Jerry Lewis--and these folks would probably love this film.

It's low-key in its humor and takes awhile to get going, but once Pierre Étaix's character begins pursuing women in a bar by trying to emulate other men, there are lots of amusing little gags to be found here. Along the way he inadvertently gets attached to a brassy, intoxicated woman (Laurence Ligneres), becomes obsessed with a popular performer (France Arnel), and has an attraction to his family's Swedish maid (Karin Vesely), providing ample fodder for hijinks.

The funniest bits revolved around the performer, e.g. The chest of drawers with her image on it, the one at chest level delicately pulled out by our hero, or how her management team sign what look like personalized autographs in an assembly line, or how one of her handlers gets her to sign a blank check when she's mobbed by fans. I also liked the interactions backstage at the show, with Étaix blending in with the various vaudeville acts, and the ending which was charming. It didn't have quite enough over 84 minutes to love it, but it was worth seeing.

You've heard of sight gags; it rather says a lot about the ingenuity of actor and filmmaker Pierre Étaix that the first big laughs to be had in this picture are sound gags. After quick exposition concludes with that witty punch the feature begins in earnest, the fun commences in full, and immediately 'Le soupirant' is simply, endlessly delightful. As we would see again a few years later in 'Le grand amour,' a playful whimsy figures prominently into a steady stream of bits including both sight and sound gags, prop comedy, physical comedy, clever dialogue, and situational humor. There's no two ways about it: this is a direly underappreciated classic, and it deserves far more recognition!

Albeit with fewer stunts, I'm strongly reminded of the quintessential silent masterpieces of comic geniuses like Buster Keaton or Harold Lloyd. The plot such as it is distinctly recalls those pioneers' works as a well-meaning but somewhat hapless young man is prompted to look for love, and is completely unknowing of how to go about it. Moreover, that plot is more than suitable as it mostly just serves as a vehicle for the scene writing and the silliness that ensues, and I don't think it's unreasonable to say that this movie is a heavily visual one. And as if these points of comparison weren't already pretty well established, the way the protagonist is written by Étaix and Jean-Claude Carrière, the manner in which Étaix comports himself as the star, and the man's direction all emphatically bring to mind the protagonists of the films directed by and starring those same silent whizzes. "Pierre" is quiet, unassuming, polite, and kind, but also totally ignorant of societal norms and conventions - least of all those associated with romance - as he inadvertently stumbles into one gaffe after another. I can only assume such semblances were intentional, because if they weren't, the coincidence is extraordinary. And either way, what a boon for we viewers!

Étaix absolutely dazzles in the lead role, and outside of the writing he does most of the leg work himself to make 'Le soupirant' as wonderfully funny as it is. The picture couldn't be what it is without the supporting cast, though, and by all means everyone else involved is tremendous in lending to the title's vivacious energy, and not least in giving Étaix a large retinue of characters to play off of. With this said, his direction is unquestionably just as brilliant in orchestrating every shot and scene, and this is fabulously well made in every other regard. The sets are as lovely as the filming locations; any stunts and effects that are employed, though sparing, come off superbly. The hair, makeup, and costume design are altogether outstanding; they're hardly the focal point, but definitely give a tinge of delicious flavor. And as if anything here is any less than perfect, Pierre Levent's cinematography is smooth, crisp, and vivid - the eyes with which we are allowed to bear witness to such unyielding joy - and editor Pierre Gillette splices it all together with undeniable, gratifying expertise. I cannot overstate how marvelous this is, down to every last detail.

What else is there to say? Some comedies don't age well; some hit their expiration date before they're ever released. The best comedy never grows old, however, and I'm firmly of the mind that this film falls squarely into the latter category. Frankly it's all but criminal that Étaix isn't more well known, for he demonstrates an intelligence and a bottomless capacity for radiant, glad entertainment like relatively few others can claim. As far as I'm concerned it doesn't matter who you are or what your preferences may otherwise be; this is an essential, unsung classic that everyone can enjoy, and should do so at their earliest opportunity. 'Le soupirant' is boundlessly vibrant, funny, and deeply satisfying, and earns my highest, heartiest, most enthusiastic recommendation for one and all. Bravo!