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Grosse fatigue (1994) More at IMDbPro »
6 out of 10 people found the following comment useful :-
Totally unexpected treat, 16 August 2003
Author: MOSSBIE from Northern Ca.
This film was made in 1994 when Altman did READY TO WEAR(in which Michel Blanc appeared coincidentally)and the extraordinary thing is that GROSSE FATIGUE accomplishes to be more of an Altman film than PRET A PORTER. It is to Blanc's credit that he is able to make the first really Gaelic silly American film with a major cast of well known French actors as well as people like Regine and director Roman Polanski in cameos which emphasize the problems of French cinema and its state at the time;and even how it is today. There are moments reminiscent of Blake Edwards PINK PANTHER absurdities with gorgeous Bouquet doing a wonderful takeoff of Capucine.Blanc himself does a French Woody Allen without effort even though his opinions are less coy and more direct than Allen's typical delivery.Paris, Provence; even Cannes or the Carlton NEVER looked better and made me yearn to hop a concorde.I have no idea how I missed this when it first came out, but I am still laughing at how much fun I had at discovering this quirky, yet well executed comedy. The mistakes made are more charming than jarring and Paris never looked more Parisian. A unique film from France which deserved more promotion.
2 out of 3 people found the following comment useful :-
An Absolute Delight!, 8 September 2003
Author: David_DC_Curtis from Corvallis, Oregon
If you're not familiar with French movies, this is an excellent one with which to start. The minor roles played by individuals such as Charlotte Gainsbourg (as herself, and seen recently in 'My Wife Is An Actress' directed by her husband, playing in English opposite Terence Stamp) is just one of many exemplary, comic performances in this droll, and very original comedy.
Excellent rapport and riposte between actors. Worth the watch., 11 January 2004
Author: thorenj from Portland, OR
This was fairly light film, but very funny and entertaining, with excellent acting by the main actors/actresses. I particularly like the sharp riposte that Carlole Bouquet serves up to Michel Blanc on regular occasions as she shepherds him through his problems. The banter between those two was so well written and spoken that I had to go back and listen to it many times.
2 out of 6 people found the following comment useful :-
The stars of French film, as they "really" are, 28 January 1999
Author: Varlaam from Toronto, Canada
A famous actor/writer/director is accused of a string of embarrassing incidents which have actually been perpetrated by his lookalike. It transpires that the lookalike's life has been ruined by his resemblance to his famous double and he's out looking for a little payback.
Famous French actor Michel Blanc plays himself in this comedy. Carole Bouquet, also playing herself, is Michel's friend. A Who's Who of French cinéma make cameo appearances as themselves: Philippe Noiret, Thierry Lhermitte, Mathilda May, Roman Polanski, and others. Those few who were somehow unable to attend have their names dropped instead. These include authentic français(es) like Emmanuelle Béart and Alain Delon, and honorary ones like Buñuel and Woody Allen.
This film is a conceit, a vanity project where the stars supposedly play "themselves" and quite naturally are "exposed" as wonderful, well-rounded people. Someone makes a joke at the expense of Gérard Depardieu, but it's actually a backhanded compliment (he works too hard). We learn that the glamorous Carole Bouquet, Chanel perfume icon, is really just plain folks who loves to eat headcheese.
In spite of the self-serving, artificial nature of the whole enterprise, I actually found it quite enjoyable. We do get to see Carole Bouquet, as she really is, shooting up a gas station. There's quite a funny scene where Carole's beauty is all that's required to restore a paralysed man's stricken limbs. The townsfolk react by giving Ste-Carole a laying-on of hands. "Grosse fatigue" would have benefited from a few more farcical scenes like these; the film takes a little too much time before finding its way.
Philippe Noiret figures amusingly in a slight twist at the end of the film. More important, he gets to make a speech lamenting the sorry state of the French film industry, and that would seem to be the real point of this whole exercise.
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