La Zizanie

La zizanie is a classic Louis de Funès film that brings together humor, satire, and a surprisingly engaging storyline. In this 1978 comedy, Louis de Funès plays Guillaume Daubray-Lacaze, a factory owner who begins manufacturing pollution control machines in his small hometown. The twist? His own machines cause so much pollution that his wife, played by the brilliant Annie Girardot, decides to leave him. What follows is a hilarious battle of wits and wills between the couple, complete with de Funès' trademark comedic timing and physical humor.

The film is packed with funny moments, from Guillaume's desperate attempts to win back his wife to the chaos that ensues in the town due to his machines. The story is well-paced, and the humor feels fresh and inventive, even by today's standards. De Funès and Girardot have great chemistry, and their interactions add an extra layer of charm to the film.

La zizanie offers a perfect blend of slapstick comedy and clever satire on environmental issues, making it both entertaining and thought-provoking. It's a film that will make you laugh, think, and appreciate the genius of Louis de Funès. I give it a 9/10 for its humor, engaging story, and standout performances.

The mayor of a French unnamed city, Guillaume Daubray-Lacaze (Louis de Funes) is also a bit of an inventor. His latest invention, a machine that makes all polluted air disappear, it is named CX22. Japanese business people are visiting the factory, hopefully they'll buy some machines.

Guillaumes wife Bernadette (Annie Girardot) helps her husband through thick and thin, arranges dinner, with a healthy amount of alcohol, to soften the Japanese. The plan works, the Japanese boss orders 3000 machines. Happiness all around.

But this big order really demands the factory to expand. Guillaume thinks that the production could just as well, also commence in the house. Soon the whole house are invated. Bernadette soldiers on supporting her husband through 23 years. Now even though that the bedroom also now is being part of production, the couple celebrate their wedding day.

The production still need to expand, and Bernadette is having a big garden, her love and pride. Together with his assistent L'imbecile (yes!) (Maurice Risch) Guillaume arrange the whole garden flodded with gasoline, which of course destroy all plants. That naturally is the point where Bernadette has had enough. She moves to a hotel.

As if this wasn't enough the following is about to happen: A very serious visit from the bank president (Daniel Boulanger), a rivalry with doctor Landry (Julien Guiomar), an upcoming mayor election with a tough TV debate. How will it all end?

The film is directed by Claude Zidi, who earlier has directed de Funes. He brings out the best in the two leads. Sometimes de Funes can be a handful, but he is a bit more gentle here, not that he is all normal! Definitely worth seeing.

It's fascinating how many hot topics converge in "The Spat", Claude Zidi's second film with Louis de Funès: you name them, full employment, economical crisis, ecology, politics, feminism, Japanese market, unions, and the hottest of them all, marriage. At least, if it doesn't break any particular ground on the field of comedy, it remarkably encapsulates the social, economical and political climate of France in the late 70's, under Giscard's presidency.

Of course, viewers' mindsets were different when they went to see the film in 1978, they wanted to watch Louis de Funès in his second role following his come-back in 1976 as a food critic in "Breast or Leg?" Due to declining health condition, De Funès had to restrain himself from his usual antics, grimaces and gesticulations so Coluche, the then-rising star of French comedy, shared the top-billing. Zidi stoke again with another role tailor-made for De Funès as Guillaume Daubray Lacaze a city Mayor and successful industry businessman (naturally a conservative), and again, another star carries the movie with him, French icon Annie Girardot as his wife Bernadette, an animal and nature-loving horticulturist. It's funny that these contradictory hobbies didn't lead to mutual incompatibility (while it does ruin many couples) but Guillaume isn't the savage type of businessman either.

Indeed, he's a former engineer and self-made man whose new little darling is a machine that can suck pollution smokes out the air. The film was made the same year than the infamous Amoco Cadiz disaster, where the pictures of seagulls trapped in the oil spill raised a public awareness about pollution. If such a machine existed, a man like Guillaume Daubray-Lacaze would be hailed as 'benefactor of our species', but oddly enough, he only finds the Japanese as investors, signing a contract for 3000 machines, which a few glasses of French liquor helped to conclude. De Funès plays the man in a way that doesn't seem to care about the machine's benefits, as if he wasn't aware of his own merit, as if he was an accidentally good person. Maybe that explains why Bernadette still endures him, she can see behind his mask. You know what they say about every great man.

Still, the pairing could have looked as ludicrous as the idea of Coluche could be De Funès' son, but here's why it works and the acting is naturally part of it. De Funès used to play strong leaders but easily manipulated by a woman, but although it's part of an act, the actor truly looks more fragile and weak, as if could finally assess his vulnerability in privacy, and Girardot adds a nice touch of benevolent tenderness and smart magnanimousness, she calls her husband's bluff, but out of love, she plays the game: give him medics, dress as a geisha to welcome the Japanese businessmen and defend her husband in front of his "rival", a doctor who shares the same ecological views and has an obvious fondness on Bernadette (as obvious as its lack of reciprocity). He's played by Julien Guiomar, who was the unforgettable Tricatel in "Breast or Leg?".

So, there's something genuinely touching in Bernadette's behavior, but we understand it's a ticking bomb, as long as he doesn't cross the limit and ends up destroying her own dreams… given the title, we know it's a matter of time before it happens. But there's a certain time to wait to get us to that titular spat, and it's a credit to Bernadette's patience. She can take the machines inside the house, then in the bedroom, even celebrates her anniversary between machines (and it's a funny sequence showing how machinery can be used for romantic purposes), she gives her piano lessons in her greenhouse, so we're still waiting for the breaking point. There comes a time when Guillaume needs more space to stock the produced machines and fails to convince the Prefect to obtain some extra acres in a public area, (no matter how hard he tried to blackmail him by wrecking his pool table, another funny moment) and this is where he finally crosses the line, by spilling oil all over Bernadette's garden.

Bernadette doesn't believe the accident, her heart broken by the Amoco Cadiz' remake in her little ecosystem, but she surprisingly gives Guillaume the benefit of the doubt. But Guillaume incarnates the boundless and unethical expansionist approach to economy, he needs more space, he freezes the tropical plant section, including his wife's fish tank, this is where the film should have went straight-away to the spat, but then she finds the weakness to come back to him. Basically, the break-up occurs at the two thirds of the film when it's already leaning toward resolution, so if anything, the title is misleading as it's only near the end that Bernadette decides to be a candidate against her husband. This is such a terrific premise, but the political campaign takes only ten minutes and the resolution is rather abrupt.

"Breast or Leg?" culminated with the visit in the factory where you could see the process of food-making, it was over-the-top but at least it daringly pushed the concept of the film. The factory within a house rapidly grew into a tiring gimmick while the antagonism should have picked up. Instead, the film loses its way and can only afford some good sight gags to break the monotony. What's left is still a remarkable satire about French economy and unconsciously visionary as 3 years later, the left won for the first time in French fifth Republic and flags like ecology and feminism were finally brandished, but it was nice while it lasted and two years later, the socialist government surrendered to liberalism.

To a certain extent, it echoes the film's ending, a funny and clever punch-line that says a lot about the way economy works… and marriages don't.

Louis de Funés was a phenomenon of popularity in French and European cinema from 1964 until his death in 1983. Of Spanish-Portuguese descent, he first made a career as a jazz pianist, before making his acting debut at just 31 years old. He achieved great success, however, from 1964 onwards, already after the age of 50, playing comedy roles, mainly physical, with an always frowning, stubborn, grumpy air, with grotesque facial expressions, a kind of Scrooge in a burlesque version.

The character caught on and was explored to exhaustion, only to be interrupted by the premature death of the artist at the age of 68.

This film is yet another tailor-made comedy by the grumpy Funés, accompanied by Annie Girardot, in which they play a couple in a marital war, between the industrialist husband and the ecologist wife.

I think this movie is a brilliant example for a Louis de Funès movie. You can discover his typical way of acting. I consider it as one of the five best movies he has ever made. The plot is not the best at all but with his comedy talent he saves it to an upper level. There are some delicious scenes for example the one in the mayor's office where he gives us a view of his billiards play. Most other characters are not convincing although they try to do. If you concentrate you on the linguistic subtlety in some dialogues you will absolutely have fun.