La cage aux folles II

I am not purposely skipped the first installment, just by coincidence, I could only found the sequel right now, soothingly enough, the omission itself does not spoil the fun of this French slapstick comedy made more than 30 years ago.

How many times one could laugh out loud watching a gay/transvestite film from beginning till the very end? What's more precious is without being tainted by vulgar gags sand abominable antics (especially immune of sex-relating perversions or individual sex- orientation humiliations).

Plot-wise, although devoid of certain logistics, everything serves up to the middle-age crisis in this gay-relationship, particularly the deterioration of Zaza Napoli's self-confidence (a remarkable performance from the late Michel Serrault), which wisely puts audience into a heartfelt milieu whereas the entire "mini-film case" merely functions as a backdrop, there is no worries about our protagonists' personal security, the only gory murder is underplayed by a poison-dart.

The odd-couple route stews in a series of set pieces which strive on the verge of platitude, yet the acting, literally Michel Serrault, does single-handedly overturns the unfavorable condition, also who could forget Benny Luke's transvestite black servant (who changes his dresses in each scene), whilst in the latter returning-to-Italy part, the contradiction is pure simple but effective, which leavens the situation into a more culturally universal understanding. Enrico Morricone's score also is a big selling-point for the film

Overall, this super-optimistic farce (I suppose it includes the entire series, there are three films in all) could easily outshines among myriads of melodramatic-sentimental gay genre films even they were made several dozens of years ahead.

I really laugh when I saw this second episode of La Cage aux Folles. Some say it's too exaggerated, that it's unbelievable. But what about Tootsie, Mrs Doubtfire or Some Like it Hot? It's in the same spirit. It's a comedy and when you forget the plausibility, you can have a LOT of fun! Zaza, the main character is unbelievalbe, a drama queen like there's never been on screen. She pups up from a birthday cake, she has to wear men's cloctes (yes! desesperatly still look like a woman!), she seduces an half-witted Italian peasant, absolutely hilarious! Eveything is great, the images, the costumes, the acting, the action. Not to be missed!

It's not lost on me that the very premise embraces the familiar pattern for sequels of going off the rails and throwing established characters into an even more far-fetched scenario just for kicks. And that's okay! Not every movie can pull off that free-wheeling "anything goes" spirit, but one kind of has to admire the gumption to do it in the first place, and when it works, it works. One way or another, why shouldn't gay couple Renato and Albin, the latter a drag queen at the famous titular nightclub, get themselves involved in a plot of state secrets, assassins, and international intrigue? With filmmaker Édouard Molinaro returning from the preceding picture, and the same writing team, not to mention the same principal stars (and editors, and cinematographer - and composer Ennio Morricone), all the major pieces are in place to make this farce the best that it could be. To be sure, Ugo Tognazzi and Michel Serrault bring the same marvelous energy to their portrayals of Renato and Albin, and Benny Luke as Jacob; at its best this unquestionably illustrates the same skill, intelligence, and cleverness that made its predecessor such a success. However, I also don't think there's much arguing that 'La cage aux folles II' is a distinctly lesser creation, and it's not a big surprise that while the 1978 film got remade in the United States in 1996 as 'The birdcage,' this 1980 follow-up is virtually unknown.

At its best we get outrageous scene writing, spirited characters and commensurate performances, sharp dialogue, and all the excellence we'd assume of the name, Roman numerals or not. To that, add some splendid stunts and effects in keeping with the premise. 'II' definitely earns some laughs. Yet where in the first film the grand hilarity was paired with gratifying earnestness in the storytelling, we get nothing more than faint glimmer, here, of the latter. And hey, in that this means augmenting the farce, there's nothing inherently wrong with that. However, in place of sincerity, what we often get instead in this case feels like a level of cruelty in the writing exceeding the base prejudice with which in-law Simon Charrier was written the first time around. There are elements here of homophobia, fatphobia, ageism, and otherwise ugly condescension, gawking, dehumanization, and nastiness - in the dialogue, in how Renato and Albin are written, and in how others react to them - that feel less like 'La cage aux folles' and more like 'American History X.' More infrequently does the heart shine through, and the best cleverness; more commonly, it almost comes across that this sequel is just punching down to laugh at rather than with the queer community that it celebrated two years before.

Don't take my harsh words to suggest that this picture is bad, because that's certainly not true. I really did have a good time watching! Both as an absurd continuation of the saga of renato and Albin, and as an oblique variation on the Euro spy comedy, I'd be lying if I said this wasn't fun. But the entertainment just isn't as strong as it was before; there are even a couple points where the writing seems a tad forced, as if writers Marcello Danon, Jean Poiret, and Francis Veber were themselves struggling to make the assemblage work even on paper. By and large it's better than not, including superb filming locations, production design, costume design, and hair and makekup. I appreciate Morricone's score, Armando Nannuzzi's cinematography, and Molinaro's direction. Some moments are downright brilliant. The fact remains that anyone hoping for a genuine successor to what 'La cage aux folles' gave us are apt to be disappointed; as much as I do like this, I wonder if I'm not being too kind in my assessment. In any event, no matter how you slice it this is overall decent, and there are certainly worse ways to spend one's time. 'II' isn't an essential classic like 'I' is, and in some ways it's pointedly weaker - but if you can get on board with the abject frivolousness, it's still worthwhile on its own merits if you happen to come across it.

Although some have said they like this sequel better than part one, this follow-up to C.A.F. is a little more forced than the first one. Albin does plenty of high pitched shrieks to keep us chuckling and involved, but this story isn't as solid as the first. As long as you keep your expectations in check, you'll have fun. The story starts at the nightclub, but there are mixups and shenanigans in hotel rooms, and running around France. With the good guys and the bad guys both chasing after them, they go into hiding at Renato's family home in Italy. The in-laws, the Deputy of the Moral Committee is in this one briefly, and Jacob the over-emotional maid, but not the son. It's also not the safe, happy-go-lucky world of the nightclub that we saw in Part 1. In this one, there are plenty of gags and jokes, but also a fair amount of hateful name calling and street fighting that we didn't see in part 1. There's also a subplot of Luigi the farm hand falling for one of them, but you'll have to watch it for yourself.

Gay couple Albin (Michael Serrault) and Renato (Ugo Tognazzi) get involved with the police and gangsters when Albin gets some stolen microfilm. They flee to Italy and try to hide out.

This isn't as good as the original (which was ground breaking) but it's a hundred times better than part 3 (which was dreadful). The plot is silly but when Albin and Renato are on screen who cares? The two actors are great in their roles. There's plenty of funny sequences especially when all the policemen dress up in drag! So it's worth seeing but don't expect it to be as good as the original. BTW--ignore the R rating. It's PG-13 all the way.