Da graust sich ja der Weihnachtsmann

This is probably the first time I've read all the previous comments for a given movie and found not a single pan so far be it for me to go against the consensus. I've long been a fan of 'Splendid' both as a group and later as individuals (in fact I'm just about to add my comment on 'Monsieur Batignole' a comparatively new film by triple-threat Gerard Jugnot, the 'Felix' from pere noel) and this represents them at their very best, which is saying something indeed. I missed, alas, the original stage version of Pere Noel but the good news is it's now available on DVD so it's automatically on my 'must have' list. It's also going to be difficult to improve on the raves already posted here so really the best one can do is add to them. I think it's fair to say that this movie gives a new meaning to the old gag 'the Samaritans call ME', given that the main setting (it started out as a play, remember) is the run-down offices of SOS distresse amitie, the French equivalent of the Samaritans which is invaded - against the no-face-to-face contact Rule, natch, by three assorted fruitcakes - four, if you count Felix-and-how-could-you-not - the santa claus-suited, gun-toting boyfriend of the slightly enceinte Zezette (Marie-Ann Chaval). The most rational thing you can say about this is that it's difficult to separate the fruitcakes - Gerard Jugnot, Bruno Mayot, Marie-Ann Chaval, Christian Clavier, from the 'staff', Anemone, Thierry Lhermitte, Josiane Balasko, in fact the title of the pathetic American remake 'Mixed Nuts' says it all (but don't rush to see it, it's light years away from the original on the wrong galaxy side). Incredibly they pack all the mayhem into one hour twenty eight minutes and that includes the best part of a minute on Establishing Shots. To attempt to describe the labyrinthine plot is a new way to grow schizoid so suffice it to say this is THE surreal comedy they all have to beat. 10/10

Everyone in France knows this movie by heart. Sure, most jokes must be very hard to translate, and may seem very rude (Je t'encule, Thèrèse !), but there is quite a solid story, the acting is excellent and Jean Marie Poiré is at his best. Even Michel Blanc who is not appearing in the movie ( only a voice on phone) is good. The dreaded Anemone is really fun (once in her life) and for Josiane Balasko it is her very best movie ( except maybe for "les hommes préfèrent les grosses"). Not to mention the wonderful Bruno Moynot and Martin Lamotte. Too bad we don't see them more often on the screen. Too bad, too, France will never more produce such jewel, but annoying Asterix, and other visitors. Looks like Christian Clavier by itself is no fun and Alain Chabat is not very good ( I never liked him, nor "les nuls". Le père Noël may be qualified minimalist, or cheap production, but it is THE french movie of the 20th century. I gave it a 10, and I'm going to watch it one more time ( maybe the 200th time)

you can realize that this movie is great just looking at this title. How a christmas night can become the most hilarious movie in French History. Written and played by the friends of the "Splendid" before they split and make other less funny flicks, le pere Noel is a trash look at surrealistic characters who are going to live the most incredible christmas day of their life in the office of "SOS détresses amitié", a phone service in charge to help people feel better . The american remake "mixed nuts" is a shame, that's why, if you haven't see this masterpiece yet, try to get it by all means (legally).

This is one of these films in your country that for some reason, somehow, has transformed into a national treasure. People will immediately dislike you and frown at you when you recall how you don't think it's a good film. They'll immediately think there's something wrong with you, when really the film isn't even that defensible, it's not like the film is amazing on any level or anything, it's just a crowd favorite. Objectively, this comedy is well enough constructed in that it allows for wacky scenarios to take place and go berserk from there, all sorts of strange happenings in subplots that eventually connect. The gags are those of a prude society of the time (early 80's) liberating itself with silly, stuck-up eruptions of vulgarity whether verbally or through act. It isn't really funny, most of the comedy here being cheap sex-oriented, taboo type humor. It's barely entertaining at all to watch now, moving back from it in the later decades, but at one point this was the absolute blast of absolute blasts, and it's hard to even imagine this is the same Jean-Marie Poiré who, a decade later, would go on to write the mythical, legendary "Les Visiteurs", for this reviewer, the single greatest french film of all-time.

This is the kind of movie you don't mind watching over and over again because its script is so rich, so full of wonderful dialogue and genuinely funny situations, that one view isn't enough to absorb everything. Ultimately, this is a film about the spirit of Christmas in the modern times. We live stressed and frantic lives, so why would Christmas Eve be different form a regular day? That's sort of the premise of this movie.

LE PÈRE NOEL EST UNE ORDURE is a black comedy, a very dark one, full of odd characters and bizarre situations. Themes like homosexuality, suicide and murder aren't left behind and spice up this crazy, passionate, comedy set on Christmas Eve.

The performances are plain terrific, with no exception. The characters are wonderfully defined and the dialogue is delicious. It's impossible not to laugh. a lot! After a relatively calm beginning, the wacky situations start to pile up in a frenzy rhythm. Being a huge fan of black comedies myself, I prefer a more subtle approach to the themes. The humor here is sometimes histrionic, theatrical and over-the-top. That can be easily accepted because the movie is adapted from a stage play and, in the end, it works in perfection.