This sequel to COP AU VIN (1985), in which Jean Poiret's eccentric title character is given more screen-time, proves to be almost as good; if anything, he is less detached towards his current case – since the victim's wife (Bernadette Lafont) is an old flame of the Inspector's! Besides, the sleazy vicissitudes of the murder mystery here are somewhat more compelling than in the first film – involving as it does bigamy, drug-trafficking, incest, infidelity, patricide, paedophilia, prostitution, etc.!
Once again, Lavardin locks horns with one of the suspects in particular, a discotheque-owner who unwisely flaunts his political connections at him. As I said, the protagonist is allowed plenty of opportunity to display his idiosyncrasies – such as when he willfully destroys the fragile collection of ornamental eyes owned by Jean-Claude Brialy (playing Lafont's spirited live-in gay brother), or when, at the disco, he first appropriates for himself a drink being poured to a paying customer and, then, interrupts the activities to request identification papers from suspicious-looking patrons!
However, the women are not only scarcer than they were the first time around but also less interesting: Lafont herself is oddly given little of substance to do, while the actress appearing as her daughter (who has more to do with her stepfather's death than her mother could ever imagine) is simply too nondescript for such a pivotal role! Otherwise, the film offers much the same level of entertainment and maintains a more or less comparable standard of quality as the original.
Once again, Lavardin locks horns with one of the suspects in particular, a discotheque-owner who unwisely flaunts his political connections at him. As I said, the protagonist is allowed plenty of opportunity to display his idiosyncrasies – such as when he willfully destroys the fragile collection of ornamental eyes owned by Jean-Claude Brialy (playing Lafont's spirited live-in gay brother), or when, at the disco, he first appropriates for himself a drink being poured to a paying customer and, then, interrupts the activities to request identification papers from suspicious-looking patrons!
However, the women are not only scarcer than they were the first time around but also less interesting: Lafont herself is oddly given little of substance to do, while the actress appearing as her daughter (who has more to do with her stepfather's death than her mother could ever imagine) is simply too nondescript for such a pivotal role! Otherwise, the film offers much the same level of entertainment and maintains a more or less comparable standard of quality as the original.