This form of French comedy has centuries of history, its resorts have been long ago perfected and brought to the optimal condition. In this stage tradition, Oscar, a filmed play, is funny, conventional, zany, bourgeois. It is far better than HIBERNATUS, where the same stock company (Funès, Mme. Gensac and Préboist) is put to use; HIBERNATUS' asset would still be that it gives Mme. Gensac a larger role, which is gratifying to a Mme. Gensac fan as I am.
Bertrand Barnier is Funès' standard character—wealthy, acrid, jumpy, asexual, virtuous bourgeois. He receives, one morning, a young man who is his employed and who requests first a salary raise, then the hand of Barnier's daughter. A roller—coaster of Qui—pro—Quos begins immediately. The young man's mistress is not Barnier's daughter; Barnier's daughter has a lover, who is not this solicitor, and she's not pregnant. These two confusions caused by two lies (the real solicitor of the miss's hand, and the false pregnancy)will roll the comedy.
Colette, Bertrand's daughter, played by the cute Agathe Natanson, is in love with the chauffeur; then she will be passed, by her father whom she lied about being pregnant and who is now pressed to find her quickly a husband, to a clerk and then to a masseur.
Jacqueline 'Barnier' Bouillote, an average blonde played by Sylvia Saurel, is a girl who pretended to be Barnier's daughter.
Bernadette, another blonde, is the spicy _soubrette, played by Dominique Page, and she will marry a baron.
The cast is vintage–Funès, Mme. Gensac, Rich, Préboist, also the three mentioned blonds (--none of them really hot --); the Funès comedies tended to be flicks with ugly people.
As I said, these are bourgeois, conventional and innocent comedies.
Daddy Funès, the so beloved French actor, made, as it is well—known, a double career ,on stage and on screen, and he translated on screen some of his awesome stage successes—usually conventional, innocent, mild and bourgeois comedies, nothing very original or indecent or libertine, licentious, piquant. Funès himself—and I say this as a person who has ever allowed himself every Funès flick available—was perhaps not a first—rate actor, and his movies were never first—rate either, neither him nor his movies belonged to the premium magnitude class—like Gabin, Fresnay, Jouvet, Simon, Raimu, Belmondo, Trintignant, Depardieu, etc..
Bertrand Barnier is Funès' standard character—wealthy, acrid, jumpy, asexual, virtuous bourgeois. He receives, one morning, a young man who is his employed and who requests first a salary raise, then the hand of Barnier's daughter. A roller—coaster of Qui—pro—Quos begins immediately. The young man's mistress is not Barnier's daughter; Barnier's daughter has a lover, who is not this solicitor, and she's not pregnant. These two confusions caused by two lies (the real solicitor of the miss's hand, and the false pregnancy)will roll the comedy.
Colette, Bertrand's daughter, played by the cute Agathe Natanson, is in love with the chauffeur; then she will be passed, by her father whom she lied about being pregnant and who is now pressed to find her quickly a husband, to a clerk and then to a masseur.
Jacqueline 'Barnier' Bouillote, an average blonde played by Sylvia Saurel, is a girl who pretended to be Barnier's daughter.
Bernadette, another blonde, is the spicy _soubrette, played by Dominique Page, and she will marry a baron.
The cast is vintage–Funès, Mme. Gensac, Rich, Préboist, also the three mentioned blonds (--none of them really hot --); the Funès comedies tended to be flicks with ugly people.
As I said, these are bourgeois, conventional and innocent comedies.
Daddy Funès, the so beloved French actor, made, as it is well—known, a double career ,on stage and on screen, and he translated on screen some of his awesome stage successes—usually conventional, innocent, mild and bourgeois comedies, nothing very original or indecent or libertine, licentious, piquant. Funès himself—and I say this as a person who has ever allowed himself every Funès flick available—was perhaps not a first—rate actor, and his movies were never first—rate either, neither him nor his movies belonged to the premium magnitude class—like Gabin, Fresnay, Jouvet, Simon, Raimu, Belmondo, Trintignant, Depardieu, etc..