Gigot, the mute from Montmartre

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Movie
German title Gigot, the mute from Montmartre
Original title Gigot
Country of production United States
original language English
Publishing year 1962
length 105 minutes
Age rating FSK 12
Rod
Director Gene Kelly
script John Patrick
Jackie Gleason
production Kenneth Hyman
music Michel Magne
Jackie Gleason
camera Jean Bourgoin
cut Roger Dwyre
occupation

Gigot, the Mute from Montmartre , also known as Gigot, the Mute from Montmartre , is an American feature film directed entirely in Paris by Gene Kelly . The title role is played by Jackie Gleason , who was also involved in the film music.

Setting: The Paris district of Montmartre with the Sacré-Cœur church

action

The action takes place in Paris in the 1920s. At the center of the action is a lovable, but also a little simple-minded gate called Gigot, who cannot speak. He makes himself useful as a caretaker for his landlady and lives from hand to mouth. His dumb appearance means that many of the neighbors and other people in the area like to make fun of him, mock him and shoo him through the streets. Gigot has remained a nice, friendly person and has made himself popular both with the animals he often feeds and with the children, for whom he always has a friendly word. He has a strange hobby, however: Gigot is magically drawn to funerals, regardless of whether he / she knew the deceased or not. He always has to start howling with everyone else as if on command.

One day Gigot runs into young mother Colette and her six-year-old daughter Nicole. Colette tries to get away from alcohol and cannot find decent shelter for herself and her child. The mute takes the two of them into his neglected basement apartment, gives them something to eat and drink and a bed to sleep in. Colette doesn't really trust the peace, after all, like Gigot, she is used to being treated like trash. But she is far too tired and exhausted to decline his generous offer. Gigot quickly falls in love with Nicole. He is amazed that the little girl doesn't know what a church is and has no idea about God either. Gigot takes her to church. She points curiously at a crucifix and asks what it means. Gigot, although silent, tries to explain all Christian customs and objects to you with his means. Although Gigot is ill-spoken on Christ, who apparently left him so inadequately on earth, Nicole realizes the importance of Jesus and faith and weeps a tear. Then she throws the crucified Christ a kiss of love.

Gigot goes out of his way to be a good and entertaining friend to the girl. He dances to the music that comes from his old gramophone and makes fun of it, disguising himself as a waiter to feed the mouse who lives with him as a sublet. Gigot sees himself as Nicole's protector, walks along next to a carousel so that pleasurable Nicole does not accidentally fall off. He also feels an obligation to Colette, who just seems to be selling herself to a client who is looking for a prostitute. Although Gigot leaves an impression with his stocky appearance, he takes a beating for an “honor rescue operation” against Colette. Colette proves ungrateful and angrily tells Gigot not to interfere in her affairs. Colette, who has long known that the mute has devoured her little one, Gigot even threatens to take her away from him if he doesn't finally find a man for her, the mother, who is financially well-endowed. Gigot, who is afraid of losing the dearest and nicest thing that has ever happened to him with Nicole, panics and steals from the baker who used to take advantage of him for years by reaching into his cash register in a moment of carelessness. Now Gigot goes on a shopping tour and buys urgently needed new clothes for Colette and Nicole as well as a straw hat for himself. Gigot buys a big meal and plenty of drinks with the rest of the money.

Things take a surprising turn when Colette's ex suddenly shows up. He wants Colette back, but not necessarily Nicole. The next morning two city officials appear who want to pick up Gigot and put him in a home for the mentally underexposed. But he plays along and dances for Nicole in an abandoned basement room under a Parisian street and has no idea that in the meantime Colette is desperately looking for her daughter upstairs and the baker is also on the way to look for Gigot and the stolen money from the cash register. During the lively Gigots dance, the wooden roof falls down and buries the two of them. Nicole lost consciousness. Gigot thinks the little one is dead, picks her up and runs with her to the church. The man of God who is present immediately notifies a doctor. Gigot is completely dissolved when a mob gathers in front of the church and tries to beat him up. He escapes the angry Parisians and hides in a coal boat. He falls into the water and submerges. When Gigot is believed drowned, the mob begins to question his actions and, somewhat hastily, organizes Gigot's funeral. Gigot has turned up again, hiding in the cemetery, because he wants to do his favorite pastime again. He secretly watches his own funeral procession without knowing that he (or his hat) is being "symbolically" buried there. His weakness for funerals makes him step forward and mourn with the community. You discover him, and immediately the mob begins to chase the dumb fool again.

Production notes

Gigot was probably created on site in several Parisian locations as early as 1961 and was premiered in New York on September 27, 1962. The German premiere was on May 3, 1963.

Auguste Capelier designed the film structures, Alexandre Trauner was artistic advisor.

Nominations

There was one each

  • Nomination for an Oscar , category best film music ( Michel Magne ). Although Gleason (probably anonymous) had co-composed, he did not receive a nomination.
  • Nomination for the Golden Globe for Best Actor (Jackie Gleason)

Reviews

Bosley Crowther wrote in The New York Times : Gleason's "characterization of a lonely, non-speaking vagabond who thirsts for social approval and the warmth of a loving being was modeled after Chaplin ... not the power of expression or the intricacies of its physicality to convey all of the poignant implications of such a difficult, delicate role. "

The Life magazine came to the following conclusion: "Gleason portrays a ragged Paris, who is trapped in a world of silence and poverty and great fun discovered for themselves, just to live with (...) But like all legendary Patsy also has Gigot. a heart made of 36-carat gold, and if he outsmarts the super smart ass, many customers in many countries will utter their happiest cry since Little Red Riding Hood . "

The Movie & Video Guide said: “Simple film, well done. Gleason is excellent. "

Halliwell's Film Guide found the film suffered from the core problem of all comedians, namely that “the clown wanted to play Hamlet”. The result is a film "without content, maudlin and totally uncomfortable."

The Lexicon of International Films reads: “A thought-provoking, tragic-comic story of a dumb fool who, exploited and mocked by everyone, lives in a tenement in Paris, suffers from his lack of contact and cares for a child picked up from the street. The somewhat insecure direction is offset by the unsentimental narrative attitude and the largely convincing main actor. "

Individual evidence

  1. ^ New York Times, September 28, 1962
  2. ^ "Movies to melt the heart and thwack the funnybone: Genial Fables from Afar," in Life, August 3, 1962 issue, p. 73
  3. ^ Leonard Maltin : Movie & Video Guide, 1996 edition, p. 490
  4. ^ Leslie Halliwell : Halliwell's Film Guide, Seventh Edition, New York 1989, p. 400
  5. ↑ Gigot, the mute from Montmartre. In: Lexicon of International Films . Film service , accessed January 24, 2020 .Template: LdiF / Maintenance / Access used 

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