7.4/10
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9 user 8 critic

Tchao pantin (1983)

Lambert, a burned-out case, works the night shift at a gas station, rarely speaking, living alone, drinking. Bensoussan, raised in foster homes, now a small-time pusher for a bar owner ... See full summary »

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(novel), (scenario) | 1 more credit »
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5 wins & 7 nominations. See more awards »
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Cast

Cast overview:
Coluche ...
Lambert
...
Bensoussan
...
Lola (as Agnes Soral)
Mahmoud Zemmouri ...
Rachid
Philippe Léotard ...
Bauer (as Philippe Leotard)
Albert Dray ...
Ben Smaïl ...
Mahmoud (as Ben Smail)
Pierrick Mescam ...
First client service station
Mickaël Pichet ...
Mickey (as Mickael Paul)
...
Momo (as Michel Paul)
Annie Kerani ...
Black Lady
Vincent Martin ...
Second customer service station
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Storyline

Lambert, a burned-out case, works the night shift at a gas station, rarely speaking, living alone, drinking. Bensoussan, raised in foster homes, now a small-time pusher for a bar owner named Rashid, comes to the station needing a spark plug for a stolen Moped. He and Lambert connect somehow, and a few days later, they go for a drink. The young man is too cavalier, and when he swipes Rashid's fancy motorcycle a couple of times, he's expendable. Lambert decides to avenge the young man and seeks information from Lola, a punk who knew Bensoussan. With surprising perseverance, she pierces Lambert's shell; he starts to feel again, tells Lola his story, and finds new enthusiasm for life. Written by <jhailey@hotmail.com>

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Drama

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Release Date:

21 December 1983 (France)  »

Also Known As:

Adiós, pelele  »

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Aspect Ratio:

1.85 : 1
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Connections

Featured in Un jour, un destin: La face cachée de Coluche (2008) See more »

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User Reviews

 
Claude Berri tries a noir
20 August 2006 | by (Canada) – See all my reviews

Claude Berri is one of the great artists of family life in French cinema. I have enjoyed so many of his films about youth, courtship, marriage and fatherhood: Mazel Tov, Le cinéma de Papa, La première fois, Un moment d'égarement. The first half of Tchao Pantin works well in this framework, but the second half is just a routine revenge story.

I didn't really respond to the alcohol-blunted efforts of Coluche to rally himself to avenge the killing of Richard Anconina, nor did Agnès Soral's emotional about-face--deciding to help Coluche find the killer--seem believable. This actress has a very inexpressive face, and body to match. A tribute to Bruno Nuytten's wonderful cinematography is in order: there really is nobody like him for rainy night scenes. I'll give 10-10 for Coluche and Anconina, and zero for the rest.


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