Fuja Enquanto é Tempo

What a gem is 'L'emmerdeur' (distributed in the Anglophone market as 'A Pain in the Ass'), the 85-minute film made in 1973 by Édouard Molinaro. It is a 'noir' comedy that catches Lino Ventura at the peak of his popularity built mostly on 'tough guy' roles - either gangsters or policemen - and gives the popular singer Jacques Brel the opportunity of his last big screen role (the tenth in only six years of activity as an actor). Both actors discover and use their comic resources to the maximum, in a genre different than the ones audiences know them in, bringing to screen a script full of verve and action written by Francis Veber (based on his own theater play), who would try with much less success a 'remake', 35 years later, in his last film as a director.

The story, which takes place in Montpellier, combines marital melodrama with film noir with paid assassins as heroes. Milan is sent to eliminate a witness who is going to reveal the truth about a gangster network at a trial. He rents a room at a hotel overlooking the entrance of the courthouse where the future victim will get out of the car at 2:00 p.m. His bad luck is that in the adjoing room has just checked-in François Pignon, a traveling salesman who tries in vain to arrange a meeting with his wife who left him for her psychiatrist. The desperate Pignon's suicide attempt may disrupt the assassin's plans, attracting the attention of the police, who are already on alert. Milan must try to convince Pignon not to kill himself and at the same time fulfill his mission. It won't be easy.

The impossible combination of Ventura - Brel works perfectly, to the delight of the spectators. It can be said that Ventura is playing a gangster role as he has played in many other films, but this time he is put in situations where he is very very unlucky. Brel borrows mime and comic gags from beloved comedy actors of the period. Veber's screenplay is written in such a way that the events happen almost in real time. It is one of the post-Nouvelle Vague influences, the other being the free use of the mobile camera, which takes us into hotel rooms, high up on railings and cornices outside the hotel, or in super-fast car chases, as the hero must be at the scene of the future crime at 2:00 p.m., as I said. Cinematographer Raoul Coutard had already worked with Truffaut, Godard and Costa-Gavras. The result of their collaboration is a film that uses in a professional manner the techniques of the cinematographic avant-garde to create a quality 'crowd-pleaser' that passes well the test of half a century that has elapsed since its release.

Professional hitman Ralf Milan checks into a hotel overlooking a court of law and all he wants is to be left in peace to assassinate a key witness but unbenownst to him there is an amiable idiot named Francois Pignon in the next apartment who is unsuccessfully trying to hang himself........

Written by Francis Véber and directed by Edouard Molinaro whose collaboration was to strike gold with 'La Cage aux Folles', this bizarre opus is a hugely entertaining blend of deadpan humour and laugh-out-loud visual gags and is an absolute must for those who like their comedies 'black'(apologies to the wokerati)

In his second of three films for this director, the casting of Lino Ventura as Milan is a masterstroke for in what at first appears to be a crime thriller he is merely sending up his well established tough guy/mobster image, so much so that his gradual disintegration as his plans are thrown into disarray by the terminally irritating Pignon is wondrous to behold. Ventura is a revelation in this and proves that comedy is at its most effective when played 'straight'.

Belgian singer/songwriter and sometimes actor Jacques Brel, in what was to be his final film, is the first to portray Pignon who has since been reincarnated by Jacques Villaret, Pierre Richard, Patrick Timsit in Véber's own badly received remake and last but not least Daniel Auteuil.

Véber's 'odd coupling' evidently appealed to Billy Wilder but his makeover 'Buddy, Buddy' featuring Messrs. Matthau and Lemmon is, for this viewer at any rate, a huge disappointment.

One of the many great comedies from France from the 1970's, and a commodity which is seriously lacking nowadays in that country ! It is now available in France ( March 2007 ) on DVD, and please note that the DVD has English Subtitles if required. Ventura was a great actor and Brel, though hopeless as an actor, occupied a part which didn't need a great actor. Brel in this film can get on your nerves at time, just like Michael Crawford in "Some Mothers Do 'Ave 'Em" but despite this, the spectator has a good time ! The catchy, almost wailing, theme music by François Rauber (played on a whiny accordeon) is typical of many French films from the sixties and seventies and serves as a way of identifying the origin of the film. Given that now both the main protagonists of the film are dead, the sound of this accordéon is particularly nostalgic. The recipe of two character-opposed central characters is often a central tenet of French cinema ( Richard / Depardieu, Depardieu/Reno, De Funes/Carmet, De Funes/Bourvil ...... and Ventura/Brel in this film )and has been used with success to make generations of moviegoers laugh ! Francis Veber had a large had in this film although its director was Edouard Molinaro - is it any surprise then that one of the characters has the name François Pignon. Indeed, BREL is the ORIGINAL François Pignon. The character was subsequently interpreted by Pierre Richard, Jacques Villeret, Daniel Auteuil et alia ............

I liked this film, not really belly laugh funny, but the situation comedy that Lino Ventura and Jacques Brel get themselves into, can be very humorous. Ventura plays an assassin who is trying to do a job, however he gets caught up with Brel's annoying and suicidal hypochondriac, foiling his attempts, by trying to commit suicide in the room next door to the room Ventura is in to do the hit. This causes the police to be called to the hotel. When they arrive however, Ventura persuades them that Brel is a friend and he will look after him and get him back on his feet. He decides to get rid of Brel, so that he can continue on his original task, but then ends up helping him to settle the score with his wife, who has left Brel for a rich medical doctor and that is when the real fun starts...!

"L'Emmerdeur" (1973) is the French movie which originated a US remake directed by Willy Wilder -"Buddy Buddy" (1981), starring Jack Lemmon and Walter Matthau. It was the last Wilder movie, not bad at all, but this original one is far better.

French star Lino Ventura and Belgian singer Jacques Brel were friends, they shot their first film together with Claude Lelouch "L'aventure c'est l'aventure". They wanted to team again and chose established comedy director Edouard Molinaro for adapting this movie, written by Francis Veber -who later became another master of French comedy...

A gangster named Milan takes a room in a Montpellier hotel, which is located in front of a Tribunal. He has a mission -shooting from his window for killing the key witness of a trial. In the room next to his there's a man, François Pignon, who is desperate instead. he wants to commit suicide because his wife quit him. The meeting of the two originates a series of accidents and misunderstandings...!

The comedy is excellent, with two actors in a really good shape. The highlight is that Brel and Ventura characters are so different and have nothing in common. Each, in his own side, is not funny -one is serious and cold, the other is sad and loser. BUT their combination is absolutely comical. (The way Brel calls Ventura -"Monsieur Milan!"- is irresistible!)

It's a high quality comedy, one of the most famous ever made in France. Edouard Molinaro directed other great comedies -among them two films with Louis De Funès and "La Cage aux folles", the gay comedy starring Michel Serrault and Ugo Tognazzi. Molinaro is at ease in making "L'Emmerdeur", many scenes are also shot by himself carrying a camera on his shoulder...

But the other leading person behind this film is, as already said, Francis Veber. His lines and situations are typical of the comedies he'll direct later -among them "La chèvre" with Depardieu and Pierre Richard, "Le diner des cons" and "Le placard". There's his recognizable style of creating strange situations -Veber likes putting in his films two completely different actors and creating comical situations from that.

Another thing: Jacques Brel's character is called François Pignon. It's the same name Veber uses in his other films for one of the two leading roles -the name itself has become synonym of an awkward, unlucky, naive and a little stupid person...!