Mario (Fernandel), a bumptious sheep-shearer, discovers he has a inimtable touch that makes women, as well as sheep, swoon at his professional caress. He is soon the most sought-after ...
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A modest taylor the women found irresistible inherit a Maison de couture in financial difficulty. Decided to save it he prepare a great collection. But when his wife discovered his ... See full summary »
1) Jerôme Chambard, a retired man, taken in by nuns in a convent, swears like a trooper. 2) Françoise takes a lover because he has promised her a diamond necklace. 3) Denis, a seminarist, ... See full summary »
In an unexplained act of charity, Jeanne Holman, picks up an injured, apparent tramp and takes him home to care for him little realizing who he was, or the effect he would have on her life and those of her family.
Mary Elizabeth Mastrantonio,
Assola is an imaginary village on the border between Italy and France and the borderline crosses the village itself. The French customs agent Ferdinand is always trying to catch the Italian... See full summary »
Mario (Fernandel), a bumptious sheep-shearer, discovers he has a inimtable touch that makes women, as well as sheep, swoon at his professional caress. He is soon the most sought-after hairdresser in France and is awarded the Legion of Honor. Among the women whose lives are changed by a hairdo(and his "touch") are Renee Devillers, his understanding wife; Arlette Poirier, a busy demimondaine, and Blanchette Brunoy, his most appreciative customer who sets up his ritzy establishment.Written by
Les Adams <firstname.lastname@example.org>
Tired of the IMDb top 250 films? Embarrassed (or bored) with seeing a film like Star Wars on the top of the heap? Then this film may or may not be for you. Not only is it hard to find, it's also not very good. It's another Fernandel/Boyer vehicle, which plays out as a rags to riches story of a sheep shearer turned hair cutter, in a series of sometimes funny vignettes.
The beauty of this film is not in its plot. The fifties were the glory days of French cinema, and millions turned out to watch films like this. Even on into the 60's French audiences did not watch nouvelle vague the way they did farces by the likes of Boyer, Oury and Verneuil; starring comedians like Bourvil, De Funes and Fernandel. These directors had the ability to create distinctively French films, which appealed broadly to the French people.....the sharply focused black and white images of postwar France, the machine-gun delivery of lines (often in a supremely self-assured fashion) , some ridiculous pratfalls (less in this film than in some of the others), and a few healthy dollops of sentiment. Ahh....those were the days. More readily available films; like Roman Holiday, the Tati films, or the Clouseau series; come close to capturing this style.
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