Directed by | |||
| Jean Girault | |||
Writing credits(in alphabetical order) | ||
| Richard Balducci | characters | |
| Jean Girault | story | |
| Jacques Vilfrid | story | |
Produced by | |||
| Gérard Beytout | .... | delegate producer | |
| René Pignières | .... | producer (as René Pignères) | |
Original Music by | |||
| Raymond Lefevre | (as Raymond Lefebvre) | ||
Cinematography by | |||
| Pierre Montazel | |||
Film Editing by | |||
| Armand Psenny | |||
Production Design by | |||
| Sydney Bettex | |||
Set Decoration by | |||
| Georges Richard | |||
| Henri Sonois | |||
Costume Design by | |||
| Jacques Cottin | |||
Production Management | |||
| Alain Darbon | .... | production manager | |
| Georgette Darbon | .... | unit manager | |
| Paul Lemaire | .... | unit manager | |
| Jean-Jacques Lécot | .... | unit manager | |
| Alex Maineri | .... | unit manager | |
| Jean-Roch Rognoni | .... | unit manager (as Jean R. Rognoni) | |
Art Department | |||
| Gabriel Béchir | .... | set dresser | |
| André Labussière | .... | set dresser | |
Sound Department | |||
| Marcel Corvaisier | .... | sound assistant | |
| Renée Deschamps | .... | sound editor | |
| Vartan Karakeusian | .... | sound assistant | |
| Robert Pouret | .... | foley artist | |
| Jean Rieul | .... | sound | |
| Eva Zora | .... | sound editor | |
Special Effects by | |||
| Pierre Durin | .... | special effects | |
| Rémy Julienne | .... | special effects | |
Editorial Department | |||
| Nadine Muse | .... | assistant editor | |
Other crew | |||
| Lydie Doucet | .... | script supervisor | |
| Odette Hainsselin | .... | administrator | |
| Rene Llonguet | .... | jewellery (as René Llonguet) | |
| Eugène Moineau | .... | press attache | |
| Marlène Moineau | .... | press attache | |
| Colette Robin | .... | script supervisor | |
Thanks | |||
| Libert Borganetti | .... | special thanks: convent sequence | |
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| Le gendarme de Saint-Tropez | Calendar Girl | Le gendarme et les gendarmettes | Rush Hour 2 | Atonement |
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| Full cast and crew | Company credits | External reviews |
| IMDb Comedy section | IMDb Italy section |
and one of De Funes' funniest ever. The fourth movie in the Gendarme series, this story finds the boys in forced retirement from the cushy police job at St. Tropez because they've become too old. When the Adjutant (Galabru) comes to visit De Funes to reminisce about old times, they discover that one of their old group (Fougasse) has had a head injury, has amnesia and is in an institution. They decide to get the old gang back and save him. But to save him, they decide to kidnap him and don their old Gendarme uniforms so they can bring back his memory of who he is. That's where the fun starts, because soon they are pursued by real Gendarmes for impersonating false Gendarmes. It's silly fun but very funny, thanks to brilliant performances by De Funes and Galabru.
Throughout the film, there are too many funny moments with De Funes to mention. In the early scenes, I died laughing when De Funes, now a rich man for having married into wealth, punches out his maid repeatedly in the face. De Funes' outlandish comedic rages have often been compared to the manic temper of Donald Duck. In another scene, De Funes is at his absolute best when mumbling incredible gibberish when he and his false Gendarmes get stoned on marijuana in a hippie commune, where they are forced to hide from the real Gendarmes pursuing them. But one of the very best scenes of De Funes in any movie is when the false Gendarmes arrive upon a traffic accident and can't help themselves; they must don their old uniforms and become cops again if only for a few moments. In this scene, De Funes uses a police whistle to clear the accident from the road and, from the sounds he makes, you can actually understand what words in cop language his cadence implies. It's unforgettable. The man was a genius and there will never be another.