megArnold

Those were the seventies, alright. (especially for those like me who only remember them vaguely) Saturated primary colors everywhere, telephones shaped like pyramids or like molten wax, easy chairs that were all but easy to sit on, catchy music, silly lyrics. This movie is as stylized as it can be (short of a Greenaway movie) and provides silly, but stylish entertainment.

Louis de Funès, at 56, shows that he is not only still the explosive comedian we all love, but that he is able to sing (in his way) and that he can even play a convincing chef-de-ballet, able to hold a candle to his female co-stars when it comes to dancing...

And, as another reviewer pointed out, we come to see his softer side as well, in his relationship with his nephew (actually real-life son), "his" girls, "his" babies.

The film benefits much from an excellent all-female dance chorus, and the dance numbers are catchy, and top-notch in their 1970 silliness.

A very uncommon movie if you expect standard LdF fare. Plot is, of course, nonexistent as any de Funès movie, but here we have abundant song and dance numbers, a Babylonian confusion of at least five languages (shadows of Tati's "Play Time", perhaps?), a dancing (!) Louis de Funès, and, as I said, plenty of 1970 design (atrocities, if you want) in brilliant colors, including the girls' costumes, which magically change between scenes.

9/10 all in all. Too many plot holes for a perfect 10, and sadly Olivier de Funès's acting talents, despite his good looks, cannot hold their ground for a lead role against his father. (He wisely chose to pursue a different career after one more movie) Yet, the movie is highly entertaining, stylish and Louis de Funès's acting makes this one his finest.

Many hauntingly beautiful and moving scenes floating aimlessly in the zero gravity of this film's plot.

Starting esthetically coherent and becoming more and more redundant up to the predictable Closing Surprise. Soundtrack mainstream, but well-crafted.

The more gore, the more bore.