Loiro Alto do Sapato Preto

Pierre Richard at his best. The movie has both verbal and slapstick comedy scenes which are some of his best. Mireille Darc when she turns her back to hapless Pierre. The dead bodies everywhere (including the refrigerator). A great comedy if you can understand the French.

Now finally available in a collected set of DVDs

"Coffret Le Grand blond - 2 DVD Le Grand blond avec une chaussure noire - Le Retour du grand blond De Yves Robert Avec Pierre Richard, Jean Rochefort, Mireille Darc DVD Zone 2 - Pal. 2 volumes"

But for the English speakers - you may have to check out the Web to find some subtitles - product available from www.FNAC.com in France.

An earlier comment was sophisticated slapstick, but while there are the occasional pokes in the eye -- the scene where an exploding cigar goes off and all the spies silenced weapons go "pfffht" (no blood, just lots of people falling over with silly expressions) is wonderful -- I think I'd instead classify this as sophisticated silliness. Reminds me of the old David Niven movies, except much less restrained.

But I also want to point out that the movie ends with a quote: "Every person is entitled to the respect of his or her private life. Penal Code, Article 9." Indeed, the wry tongue in cheek is pointed squarely at the absurdities of the French intelligence community. I find looking at the movie in that light adds another bit of fun to identifying the "good guys" and the bad guys.

Well worth your time.

This film was one of the most successful crossover French films of the 70's, and for very good reason. It is a delightful spoof of the spy genre, with a hapless musician unknowingly caught in the middle of a war between two factions of the French secret service. The plotting is extremely funny, the directing tight, the music (played by Zamphir on the pan pipe!) unforgettable, and above all the ensemble acting by a stellar cast will have you watching this again and again. Pierre Richard, playing the title character, brings an unusual elegance and sense of class to what would otherwise be a Woody Allen-esque role (it was played by Tom Hanks in the American re-make). Mireille Darc is the femme fatale, and there were quite few teenage boys in the 70's who never got over the image of her in a jaw-dropping backless dress. The rest of the group, from the cool head of the Secret Service, to the efficient but misguided spies, to the bumbling best friend and his wife, all leave indelible memories. Thirty years after having seen this film for the first time, I can remember everything with crystal clarity, and my own kids have found it just as delightful. Go ahead and rent this one for truly fun evening, you will love it!

If imitation is the highest form of flattery, then Hollywood has paid homage to this Gallic gem. And, as usual, the original is better than the Hollywood copy.

The best description of this classic is the oxymoron: sophisticated slapstick. But there is much more. Like the category list suggests (comedy, mystery, and more) there's something for everybody, and you needn't be a Francophile to enjoy it.

Simply delightful!

Successfully spawning a sequel and a Hollywood remake, Tom Hanks' starrer THE MAN WITH ONE RED SHOE (1985), and augured from its ingenious legerdemain in the opening credits, Yves Robert's THE TALL BLOND MAN WITH ONE BLACK SHOE is a beguiling divertissement that mocks the espionage profession and retains the essential Gallic funny bone.

Our protagonist is the titular tall (?, he looks very average), blond François Perrin (Richard), a French violinist, who is randomly chosen as a bait because he wears one black shoe and one brown shoe (owing to a practical joke) when he arrives in Orly airport from Munich, a whim of Perrache (Le Person), the assistant of Louis Toulouse (Rochefort), the chief of France's Counter-Espionage department, who clandestinely retaliates his treacherous second-in-command Bernard Milan (Blier) by deliberately letting the latter on that François is a top spy who has kompromat to hazard his position.

Milan rises to the bait immediately, with his whole team working in succession to stake François out, break into his apartment (and playing with a set of matryoshka dolls) and keep tabs on his visitors and telephone calls, trying to fish out what he knows, obviously, all to no avail. Only after a recoiling honey trap set by agent Christine (Marc), Milan finally loses his patience and demands François to be roundly dispatched, but unbeknown to him, Perrache assigns two agents to safeguard François, so the ensuing internecine shoot-out takes a heavy toll on both sides, and completely behind François's back.

Yes, the off-piste leitmotif is that, during the whole shebang, François is insouciantly oblivious about the happenings, resumes his daily routines - a tryst with Paulette (Castel), the harpist in the same orchestra and the wife of his best friend Maurice (Carmet), a percussionist - and plays in an evening concert (a cock-up to the dismay of the conductor, played by Robert himself), then a wee-hour consummation with the mysterious, sultry Christine, who even more mysteriously, falls head over feet for him and defects her superior afterward, and in the jolly ending, the pair flies to Rio together, in different airliner compartments though, only leaving Maurice, beset by his numerous encounters with the goings-on and its unsavory aftermath, firmly believes that he is mentally unstable and needs heavy medication.

Comédien Pierre Richard relaxedly inhabits François with a mix-bag of clownish, aw-shucks, yet louche facades (although gobbing gums in the airport doesn't leave a great first impression), playing off against the agents' collective callousness and dead seriousness, he is endowed with a Benigni-esque comical facility to dampen the plot's innate implausibility, so is Jean Carmet, a dutiful foil that nails the deadpan impression after his character becomes increasingly enmeshed with and befogged by contradictory situations, so much so that questioning his own sanity seems to the only possible way to justify it. All in all, the film is a thoroughly pleasurable vintage comedy that has enough sophistication and élan to spare for a second go-round.