Le diable par la queue

one of the most "charming" French films ever made - very well playd by all the actors, like Yves Montand or Martha Keller ( in her first french film ) Never boring - a good musical score with some "classical" piano music, and the filmmusic made by Delerue. The movy isn't outdaded, even if it dates from 1969 - only the very short skirt ( and I do mean SHORT !) dates the picture in the ends of the '60ies. Yves Montand plays a gangster who is stranded in the mounains of France, in a small almost broke hotel. With the help of the daughters lover ( "amant") who sabotages some cars, more guests will arrive at the hotel, and at the end, Yves Montand with the money of a bank robbery, will restore the hotel and working as the cook.

In director Philippe de Broca's vast production this is probably the most underrated effort: almost fallen into oblivion (no DVD out) this movie is a gem of wit and innocence. You have to accept the utter futility of the plot and the impossibility to believe the twists, to enjoy the grace of youth displayed by Marthe Keller (the films constantly captures her long, naked, legs as she runs or rides a bike in the French countryside), the wonderful comic performances by Marielle and Rochefort, the consummate acting of Madeleine Renaud and the serene charm of Montand.

Though extremely lighthearted and quick-paced, the film manages to be poignant thanks to the superb score by Delerue (De Broca said that he would like the piano theme he composed to be played at his own funeral). What makes this film so special for me is the feeling of freedom that radiates from the characters as they move about in this tale, completely separated from social or political issues (remember the film was made in 1968). They manage to convey innocence while frantically pursuing love, happiness and enjoying themselves.

"Devil by the Tail" is a 1969 French film directed by Phillipe de Broca, starring Yves Montand, Madeleine Renaud, Maria Schell, and Marthe Keller.

A family that has fallen on hard times runs a hotel which has one permanent weekend guest and little else in between. In the opening scene, coffee cups are being placed strategically in the attic to catch water leakage during the rain.

The family consists of an elegant older woman, la marquise (Renaud), her flirtatious married daughter (Schell), la comtesse Diane, her husband, le comte George ( Jean Rochefort) and their beautiful, leggy daughter le jeune baronne Amelie (Keller). Amelie has a some time boyfriend, Charles, who works at a local garage, who occasionally gets the hotel guests by disabling their cars when they stop for gas.

When Charles disables the car of a group of gangsters who have just stolen 100,000 francs, the three reluctantly check in at the hotel and put the money in the wall safe. The head man, Cesar (Yves Montand) charms the women. After a visit from the police, the family realizes who their guests are -- in one hilarious scene, unaware that Cesar has left with the money, they try to break into the safe from the back. The three men leave, but two are killed when their car gets into an accident and goes into the water. Cesar makes his way back to the hotel to hide out.

Absolutely delightful film that could be made today. It's not dated at all and manages to be sexy, warm, and funny all at the same time. Marthe Keller is so fresh and young, and her long, gorgeous legs are shown throughout the film. Maria Schell is unabashedly playful and romantic, though she loves her husband. Renaud, a stunning older woman, is no-nonsense and practical throughout. And the star, Montand, is the essence of French smoothness and charm as he captivates the family.

Highly recommended, with wonderful direction, acting, music, and scenery. It will leave you with a smile on your face!

This is the itranslate version of the French critic review of L'Oeil Sur L'Ecran:

To keep their dilapidated castle, a family of desginated nobles turned it into a hotel. But as customers are scarce, they arrange with the small local garage for travelers to make a forced stop. This will lead to very different people at the castle, including a bank robber... Written by Daniel Boulanger and cut by Claude Sautet, The Devil by the Tail is often described as "marked by the spirit of May 68" (in reality, this qualifier would apply much more precisely to Philippe de Broca's previous film, The King of Hearts shot in 1966. It is certainly more accurate to say that this is a light and wacky, kindly amoral comedy. Nothing is serious here, we seduce, we play with love, in all its forms. The film is imbued with a communicative pleasure. Yves Montand obviously had a good time composing this exuberant and charming southerner and Marthe Keller as a young nymph with long legs brings a nice touch of mutinous freshness. There are good scenario finds, the whole is fluid; we have a lot of fun.

Rated: 3 out of 4 stars

In France, too, the impoverished rural nobility has to struggle with the pitfalls of the modern world. An adorable Margravine (Madeleine RENAUD) does everything she can to maintain the dilapidated family castle. She is supported more badly than well by her manly daughter Diane (Maria SCHELL), son-in-law (Jean ROCHEFORT) and adorable granddaughter Amelie (GOLDEN GLOBE nominee Marthe KELLER). However, many travelers don't get lost in the cozy country castle. You have to help a little if you want to have paying guests. But one day the impoverished Margravine is really lucky. A charismatic crook (Yves MONTAND) ends up stranded in the castle with his millions in loot. A turbulent struggle for money immediately breaks out, which could reorganize the aristocratic miscellany in one fell swoop. But perhaps the solution lies in an alliance between the impoverished nobility and the criminal world...?

Director Philippe De BROCA, with a brilliant cast, has created a wonderful film with slight socially critical tips. BAFTA AWARD nominee Maria SCHELL in particular is in her element as the man-crazy matron. Her flirtations with Yves MONTAND and her subsequent remorse towards her husband are quite funny.

Truly not an indispensable classic of French cinema! But it's a nice opportunity for rediscovery, suggested by the German-French television station ARTE.