Duell der Degen

"On Guard!" is a delightful saga of a swashbuckling soap, in French, at the capable hands of veteran director Philippe De Broca. I still remember his most entertaining "That Man From Rio" 1964, with adorable Jean-Paul Belmondo and matching comedic tempo of Francoise Dorleac - it was such fun ('tis before the James Bond flicks becoming an annual feverish affair).

What drew me to "Le Bossu" (The hunchback - film's title in French) was mainly due to the 'extraordinaire' Daniel Auteuil, who's the central lead in the film. I first remember him not from "Manon of the Spring" 1987 (as Gerard Depardieu was the star) but from his portrayal of Lacenaire in "The Elegant Criminal" 1990. There's also the ever suave and attractive Vincent Perez (it's the second time seeing him acting opposite Auteuil - they were both in "Queen Margot" 1994; if you haven't seen him in the epic "Indochine" 1992 with Catherine Deneuve, go for it). And in the nemesis role, Fabrice Luchini aptly portrayed the treachery of it all. (He was fascinating to watch in director Patrice Leconte's "Intimate Strangers" 2004, playing opposite Sandrine Bonnaire.)

So with the wonderful script co-written by De Broca himself, witty dialog and intriguing plot turns, it's simply irresistible not to check out "On Guard!" It's available on DVD from Empire Pictures - Koch Lorber Films, and there are behind the scenes extras with interviews of the director, the trio of main actors and actress Marie Gillain, in French with English subtitles option.

Music is by the omnipresent maestro Philippe Sarde, with inclusion of strains from Pietro Mascagni's "Cavalleria Rusticana". By the way, there's another famous Philippe included in the cast: Noiret, indeed.

De Broca, who had made the marvelous swashbuckler CARTOUCHE (1962), returns to the genre after 35 years with this unexpectedly old-fashioned and highly entertaining romp.

Daniel Auteil is the unlikely hero, who is also called on to show his versatility as an actor by dressing up as the titular character. He's supported by a good cast: Vincent Perez as a womanizing aristocrat, Fabrice Luchini as a somewhat reticent villain and Philippe Noiret as a Regent; lovely Marie Gillain is Auteil's improbable love interest (she was raised by him after being saved from death's clutches).

The film's theatrical milieu brings forth obvious comparisons with SCARAMOUCHE (1952) but the sumptuous décor, Philippe Sarde's rousing score and a plot-packed narrative keep one watching. In fact, it was so well-received at the time of its release as to be nominated for several international film awards!

De Broca is a distinguished French film-maker but, unfortunately, very little of his early work is available for reassessment; I've only watched 5 myself (including this one) and all proved to be well worth watching.

If you want to escape from the world Le Bossu is a brilliant holiday.

The subtitles are badly done as usual - give us Literal Translations please - we are not idiots!

The story is a great romping swashbuckler that would make Errol Flynn proud. Perez and Autiel are especially good but the man that steals it is Fabrice Lucini - his voice would give anyone a lesson in French and he is very funny and diabolical - he should be a massive star.

This film rollocks along and just shows you don't need complex plots to have a great movie - once again Hollywood scriptwriters - read it and weep... The French and the British are the only ones that can truly do justice to this sort of film.

Alexandre Dumas made a reputation for himself writing stories chiefly about the uncommon man who had to rise to the occasion in extraordinary circumstances. Arguably, THE THREE MUSKETEERS and THE COUNT OF MONTE CRISTO stand as some of the best literature of the ages, and the film adaptations have created some of the most incredibly swordplay put to the silver screen.

The little heard of and rarely seen ON GUARD ("Le Bossu," 1997, from the French novel by Paul Feval of the same name), by far, features some of the most exciting swordplay with a story that compares to Dumas' best work in many ways.

Daniel Auteuil stars as Lagardere, a budding swordsman who can't back down from a fight. One evening, upon trying to best the Duke of Nevers, he inadvertently falls into the duke's good graces and joins him -- as a sidekick -- on a journey to rescue the man's infant daughter, Aurore. However, as the duke is soon murdered by his villainous cousin Count Gonzague (played with ample creepiness by Fabrice Luchini), Lagardere escapes with the infant and, along with the help of a traveling circus, raises her as his own child for sixteen years ... until Aurore takes up the sword and performs a move only her real father could've known, alerting the now-in-power Gonzague to the fact the the daughter has survived. Now, Legardere is faced with the ultimate challenge of devising a masterful plot to put the woman back on the throne and into her position of prominence!

Much of the film is pure plotting and humor, some of which can only be the product of the French ("Ever try sodomy, my friend?"), and I'm quite certain several of the jokes might be lost on an American audience. Still, Auteuil as Lagardere is the film's masterful stroke; he proves himself capable of a Musketeer-like defender, a loving father, and a pining lost soulmate to the lovely Aurore, all the while maintaining his sense of duty coupled with a great sense of humor.

The film is presented widescreen, filmed on beautiful locations, and the sound is very crisp and vibrant. ON GUARD is a wonderful adaptation that deserves to be discovered by a much larger audience.

France, 1699. The Duc of Nevers is a dashing nobleman who's cousin wishes him gone in order to inherit his fortune. His cousin, Count Gonzague pays hired swords to kill Nevers but they fail to do so, one of the men winning over the Duc and becoming his friend. When Nevers learns he has a child from an one night stand in Caylus, he sets off with Langardère to be married. However the marriage occurs but men attack the castle and Langardère is left to flee and protect the baby. He joins a group of players and hides for 20 years. However when the baby (now grown up as the beautiful Aurore) kills a man in the style known only to her father, Nevers, her presence is revealed and Langardère is forced to put things in motion for his revenge.

I have had this film sitting on a video tape for a month waiting for me to get some time to watch it. I am always put off by foreign films and often they will go to the bottom of things I have to watch simply due to the subtitles! I saw this today and thoroughly enjoyed it. The plot is quite simple although it sounds quite complex. The two acts are – I, Langardère and Nevers becoming friends before the deeds and II, Langardère returning to Paris 20 years later. The plot is helped to move along by the energetic playful feel to the film. It has it's tongue slightly in it's cheek but not so much as to make a mockery of the story. Instead it has just enough wit to stop it feeling historic or creaky.

It is not without flaws however, but they are minor when viewed alongside the grand sweep of the film. I, for one, didn't totally get behind the switch in the type of love between Langardère and Aurore – it was too easy after 20 years. Aside from this, the wit enables the film to get by with unlikely plot devices – if the subject had been presented drier then I may have had a problem with it.

The cast is led by some great performances, none more so than Auteuil. He is good both as the angry young man who befriends Nevers, the comical hero, the protective heroic father and the hunchback of the title. He has great fun in all roles and he is fun to watch. Perez is a bit of a cad and is enjoyable while onscreen and Luchini is a good villain made comical by his almost `middle manager' sense of insecurity and being second best all the time! Gillain as the adult Aurore is pretty and it is only her romance of Langardère that didn't work for me.

Overall this is a very enjoyable film. The plot is very traditional and well worn, but the film is really helped by it's energy and wit that helps everything flow that much easier and makes, along with good performances, for a very fun film to watch.