Even without knowing anything otherwise about Les Charlots, in beginning to watch this one recognizes a definite kinship with other groups and styles. Imagine if The Beatles or The Monkees had enjoyed more protracted careers in the film industry; more cynically, imagine if the Rat Pack, who basically used films as a vague excuse for them to hang out together and be paid to do it, had been around in the 80s. Yet the best point of reference might be the Marx Brothers, a troupe whose work in movies mixed music and comedy with highly variable levels of plot, and to varying degrees of success. Indeed, Jean Sarrus, Gérard Rinaldi, and Gérard Filippelli show obvious camaraderie reflecting their long-term association, regardless of whatever else is to be said of the picture; that picture wavers between allowing a steady stream of gags, bits, or silly dialogue and scenes to predominate, and on the other hand, emphasizing the telling of a discrete story. To some extent this portends balance, though depending on how successful one finds the viewing experience to be, one might argue that neither facet is given all due treatment in turn. Well, at least for my part, the good news is that where 'Charlots connection' is concerned, I think the former is more true than the latter. It's a mixed bag, but more fun than not, and duly worthwhile if one chances upon it.
While not utterly damning, the main issue with this title is simply that the strength of the humor varies considerably. There's no instance of a joke that doesn't land, so this has that going for it, but what we do get ranges from mildly amusing at a basic level, to earning a hearty, welcome laugh. What point on the spectrum we'll be treated to at any given time is a proverbial crapshoot, as if the best wit that the writers, the cast, or director Jean Couturier had to offer was dispensed unevenly and irregularly. With this said there's also no single stroke of genius to be had at any time - which is fine! Not every feature needs to be revelatory, and it's enough to entertain in a more general sense. If nothing else is true about 'Charlots connection,' it achieves that goal, though imperfectly. And here again maybe the Marx Brothers really are the best comparison, for some moments land better than others - and likewise, the narrative writing fluctuates substantially in its importance, and in its completeness and cohesiveness. To wit, in this case: once our trio of protagonists joins Marcaud's employment and the plot begins in earnest, there are times when the story and the comedy are in total harmony, and there are times when the story is prioritized over comedy. (That's not a criticism, just an observation.) Yet how was it that they came to Marcaud in the first place? I honestly don't know, and I'm not sure if some dialogue raising that very question in the last minutes is a tacit admission by the writers or a cheeky wink. Speaking of those last minutes, the nature of the "relationship" between Marcaud and his "rival" is a detail that's wholly unnecessary, coming off like a fruitless diversion; the last ten to fifteen minutes at large are surely the weakest part, as the entirety of the proceedings just seem quite loose and scattered right when it theoretically mattered most. Whoops.
All this is the bad news, or at least, the detractions that one might reasonably make against the film. The good news is that so long as one can abide those faults and deficiencies that do present, I think 'Charlots connection' is a pretty good time. I alternate between thinking that the cast (including Les Charlots) seem to be having lots of fun themselves, and thinking that they're struggling not to altogether frown sourly at the experience, but if the latter is true it's at least mostly hidden well. Any stunts or effects that are employed look good, and Raymonde Guyot illustrates some shrewd editing. Even with the bumpiness in the writing, René Havard and Richard Balducci came up with some definite cleverness; I don't know how much credit Les Charlots or Couturier might deserve for contributing ideas, but one way or another there are plentiful sparks of joy throughout the length. And it bears repeating that while well short of wholly brilliant, overall the picture is solid. The silly story is patchy but engaging; the humor is a tad discrepant but never less than gently charming. Sure, we could ask for more, but in this instance I don't think there's any need to get greedy. Mind you - in hindsight, having stumbled across this entirely by chance and only thereafter taking time to read up on Les Charlots, this 1984 film was perhaps not the best point of entry to discovering the group. Popular opinion and even those involved would seem to hold 'Charlots connection' as a distinctly lesser creation. Seeing as I do like it, however, that makes me want all the more to delve more into their work and see what I can find. When all is said and done this is far from a must-see, and mileage will vary greatly from one viewer to the next. I still have to say that I ultimately like it, though, so 'Charlots connection' earns a soft recommendation from me.
While not utterly damning, the main issue with this title is simply that the strength of the humor varies considerably. There's no instance of a joke that doesn't land, so this has that going for it, but what we do get ranges from mildly amusing at a basic level, to earning a hearty, welcome laugh. What point on the spectrum we'll be treated to at any given time is a proverbial crapshoot, as if the best wit that the writers, the cast, or director Jean Couturier had to offer was dispensed unevenly and irregularly. With this said there's also no single stroke of genius to be had at any time - which is fine! Not every feature needs to be revelatory, and it's enough to entertain in a more general sense. If nothing else is true about 'Charlots connection,' it achieves that goal, though imperfectly. And here again maybe the Marx Brothers really are the best comparison, for some moments land better than others - and likewise, the narrative writing fluctuates substantially in its importance, and in its completeness and cohesiveness. To wit, in this case: once our trio of protagonists joins Marcaud's employment and the plot begins in earnest, there are times when the story and the comedy are in total harmony, and there are times when the story is prioritized over comedy. (That's not a criticism, just an observation.) Yet how was it that they came to Marcaud in the first place? I honestly don't know, and I'm not sure if some dialogue raising that very question in the last minutes is a tacit admission by the writers or a cheeky wink. Speaking of those last minutes, the nature of the "relationship" between Marcaud and his "rival" is a detail that's wholly unnecessary, coming off like a fruitless diversion; the last ten to fifteen minutes at large are surely the weakest part, as the entirety of the proceedings just seem quite loose and scattered right when it theoretically mattered most. Whoops.
All this is the bad news, or at least, the detractions that one might reasonably make against the film. The good news is that so long as one can abide those faults and deficiencies that do present, I think 'Charlots connection' is a pretty good time. I alternate between thinking that the cast (including Les Charlots) seem to be having lots of fun themselves, and thinking that they're struggling not to altogether frown sourly at the experience, but if the latter is true it's at least mostly hidden well. Any stunts or effects that are employed look good, and Raymonde Guyot illustrates some shrewd editing. Even with the bumpiness in the writing, René Havard and Richard Balducci came up with some definite cleverness; I don't know how much credit Les Charlots or Couturier might deserve for contributing ideas, but one way or another there are plentiful sparks of joy throughout the length. And it bears repeating that while well short of wholly brilliant, overall the picture is solid. The silly story is patchy but engaging; the humor is a tad discrepant but never less than gently charming. Sure, we could ask for more, but in this instance I don't think there's any need to get greedy. Mind you - in hindsight, having stumbled across this entirely by chance and only thereafter taking time to read up on Les Charlots, this 1984 film was perhaps not the best point of entry to discovering the group. Popular opinion and even those involved would seem to hold 'Charlots connection' as a distinctly lesser creation. Seeing as I do like it, however, that makes me want all the more to delve more into their work and see what I can find. When all is said and done this is far from a must-see, and mileage will vary greatly from one viewer to the next. I still have to say that I ultimately like it, though, so 'Charlots connection' earns a soft recommendation from me.
