Jean-Pierre Darras Movies

This offbeat satirical comedy finds a beautiful and talkative housekeeper (Annie Girardot) working for several colorful employers. One is a former prostitute living with a prominent politician. Also included is a ribald bank teller and a strange man who helps out at a church for wayward boys and sings at a homosexual nightclub. The housekeeper's verbose nature leads to blackmail for her clients, with the two men meeting their deaths and the ex-prostitute wedding plans put in jeopardy. ~ Dan Pavlides, All Movie Guide

Muriel (Annie Giradot) is a shy woman who bluffs and blusters around in order to hide her shyness and to protect her loneliness, even though she longs wistfully for a companion of some sort. She has been lonely so long that now she is an old maid and has never been wooed. In this gentle French film, Muriel gets a glimpse of romance when Gabriel (Philippe Noiret) walks into the seaside hotel she is vacationing in. His car has broken down, and he has to stay there for a few days while it is repaired. Hers is the only dinner table with room at it, and Gabriel cannot prevent himself from charming women. She is stiff with him at first, but soon they develop a friendship. ~ Clarke Fountain, All Movie Guide

Proof of the success of French filmmaker Edouard Molinaro is the fact that several of his home-grown hits have been remade as American films. The most recent example of this is 1996's The Birdcage, a highly profitable reworking of Molinaro's La Cage aux Folles (1978). The director's 1973 comedy A Pain in the A... also went the Cage aux Folles route of enjoying worldwide popularity, then undergoing an Americanization process. In the Molinaro original, Lino Ventura plays a friendless hit man who holes up in an Italian hotel room, awaiting the opportunity to knock off his target, a mob witness. No sooner has Ventura drawn a bead on his would-be victim than he is interrupted by the comically suicidal Jacques Brel, who wants to jump from the open window in the assassin's room. The banter and byplay between Ventura and Brel is priceless, especially when veering towards the "sick" humor that Molinaro handles so well. Based on a play by Francis Veber, Pain in the A... was remade by Billy Wilder as Buddy Buddy (1978), with Walter Matthau as the hit man and Jack Lemmon as his unexpected guest. ~ Hal Erickson, All Movie Guide

This dark French comedy satirizes suburban living. Marthe Keller and Jacques Higelin play a newly married couple who have just moved into the suburbs. Nearly everything is oppressive: among other things, the walls of their house are too thin and their neighbors harangue them with complaints of all kinds. They also suffer from the difficulties of the commute to work. When this routine nearly drives the wife to suicide, they are both relieved when their house literally blows up around them. They then discover another set of indignities while they are at the hospital. ~ Clarke Fountain, All Movie Guide

The difficulty experienced by a softcore porn film producer, who must somehow transform an academically praised novel into an erotic thrill-fest, is the subject of this comedy. In the film, Claude Brasseur is Manuel, who confronts vain but..incapable..male stars, an inane and silly script, sexually obsessed cameramen and more. ~ Clarke Fountain, All Movie Guide

A child of divorced parents, the young man in this film engineers a situation which will force his mother, whom he has forgotten, to show up. When she does, he is disappointed that she is nothing like his dreams of her. ~ Clarke Fountain, All Movie Guide

La Vie Parisienne is a musical which is based on the farcical operetta by Jacques Offenbach which made the can-can famous. The story concerns two rich sons of the upper classes, who revel in the rich nightlife of Paris where they can drink, gamble, womanize and rub shoulders with all classes. Eventually, they tire of this and confine their elaborate womanizing schemes to other aristocrats, with the help of their sympathetic servants. ~ Clarke Fountain, All Movie Guide

In this thriller, a private detective disregards the many warnings he has been given and continues searching for a missing blind girl. ~ Sandra Brennan, All Movie Guide

Molière's play about a "bourgeois gentleman" was the basis for this cinematic interpretation of the same story, which illustrates the differences between theater performances and the silver screen. The play has interludes of music, it is performed as a ballet, and stage sets tend to remain right where they are for the duration of a long scene or an act, or more. In contrast, this film is not a ballet, though music is interwoven with the scenes, the action is emphasized more than on a static stage set, and the "gentleman" of the title, Monsieur Jourdain, is played by Michel Galabru with facial expressions necessary for the stage, though a bit much for the close-up shots of a camera. Monsieur Jourdain is a wealthy man who wants to rise up the social ladder but only succeeds in giving away his lack of sensibility at every turn, and soon he has some of the impoverished nobility wanting to use his lucre as a springboard back into the good life. He is easily fooled, as when the marriage of his daughter is arranged behind his back -- if only he would listen to his wife (Rosy Varte), who has so much more common sense. ~ Eleanor Mannikka, All Movie Guide