- Alfred is in love, but shy. Desperate not to have the audacity to express his passion to the woman of his dreams, Nicole, a young dairyman, he enthusiastically accepts the proposal of Don Juan to make his sentimental education.
- Alfred (Jean Bellanger) is a Parisian, shy and in love. Although he meets couples every day who show him what to do, he has not yet succeeded in declaring his love for the pretty creamer (Catherine Erard); so they must be moved in high places, since the ghost of Don Juan is dispatched to earth to help him... He will show her some recipes, pretexts for as many funny and often digressive sketches...
Let's say it right away: there are good reasons that pushed Yves Robert, whose first feature film this was, to deny this film... It is a sometimes uneasy mixture of sketch comedy and sentimental comedy, of boulevardier cinema and slapstick comedy, two reasons generally sufficient for the critics to hold their noses, and if not the interpretation is not always up to the mark... Finally, for a film that relies a lot on images and visual humor, which is what Robert wanted, it is terribly talkative...
But here it is, it has the qualities of its defects and the defects of its qualities, and if it is neither Tati, nor Etaix, nor even Robert Dhéry, this intriguing film has at least the advantage of not being Philippe Clair or Max Pécas either! And above all it is quite unique in its kind... Notably by the permanent fantasy of the narration, the sometimes quite clever shift between sound and image (the purely visual sketches often involve an actor who loved mime, to which his very plastic face lent itself well: Yves Robert himself, who had adapted Queneau's Exercises of Style to the theater), the freedom of tone which of course tends to wallow in sauciness, but always with a hint of poetry... But if the film suddenly takes height when to embody a jealous and furious husband, Louis de Funès becomes the center of attention ("Oh, the animal! The animal!!!"), it is necessary to note that the film is not as good as it should be. "), it must be noted that the team screws up with visual gags that are funny, yes, like this vision of "followers" that refers to Stan Laurel (a young woman in the street is followed step by step by three, then four, then five pickup artists), while announcing the libertarian tone of Monty Python: because if it's funny for twenty seconds, it should not be developed over five repetitive and embarrassing minutes.
Finally, the film has a title that today would probably be embarrassing, but also a tone that does not bother with subtlety around a notable plague, that of the drag. Because yes, what is said here is that to seduce beautiful idiots, it is necessary to insist. They don't want to? Go ahead anyway!
Aïe aïe aïe... One would like to believe that this kind of behavior belongs to museums.
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By what name was Les hommes ne pensent qu'à ça (1954) officially released in Canada in English?
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