Chasing men
| Movie | |
|---|---|
| German title | Chasing men |
| Original title | La Chasse à l'homme |
| Country of production | France , Italy |
| original language | French |
| Publishing year | 1964 |
| length | 91 minutes |
| Age rating | FSK 18 |
| Rod | |
| Director | Édouard Molinaro |
| script |
Michel Audiard Michel Duran Yvon Guézel France Roche Albert Simonin |
| production | Robert Amon |
| music |
Michel Magne Giorgos Zambetas |
| camera | Andréas Winding |
| cut |
Monique Isnardon Robert Isnardon |
| occupation | |
| |
The hunt for men (original title: La chasse à l'homme ) is a French-Italian comedy film by Édouard Molinaro from 1964. Marriage-mad women hunt with all possible means and do not shy away from coercion, deception and temptation. Contrary to their self-assessment, the men all end up as defenseless game.
action
The film begins in the chaotic bachelor apartment of the two friends Antoine and Julien. Antoine wants to get married today. During the final preparations, he is disturbed by constant phone calls from his bride Gisèle and an intrusive ex-girlfriend who threatens him with suicide. As a staunch opponent of marriage, Julien tries to dissuade Antoine from his wedding plans with sarcastic remarks.
The friends decide to have a quick breakfast in the bistro across the street. They get into conversation with the bistro owner Fernand. Fernand describes in detail to his guests how he was active as a petty criminal and pimp until recently and that he only got off the wrong track because of his marriage. He concludes that he now finally has a secure existence and is the happiest person on earth. Rather, it seems that Fernand was actually trapped as an oppressed husband. Julien, recently divorced, then describes how the underage Denise and her rabid father forced him into marriage.
On the further way to church, Antoine insists that of course he cannot be compared to Fernand or Julien. The friends disagree about who is the hunter and who is the game in this game. Antoine now describes his “pure love” for Gisèle and how he supposedly got to know her. However, Julien immediately begins to explain the real process of this "getting to know each other". It turns out that Gisèle, with the help of her sister Odette, drove Antoine into her clutches with meticulous planning. All of this now unsettles Antoine so much that they take a lap around the church in a dispute and leave the entire wedding party behind. Julien has also prepared an escape plan and bought tickets for a cruise to Greece. Fernand gets a third ticket as “a way to escape from paradise”.
The journey seems to begin with the prospect of romantic love adventures. However, the young impostor Sandra and an aged millionaire ensure constant entanglements. This loses its younger companion in the course of the journey. While she shows interest in Fernand, he becomes aware of her eye-catching jewelry. In conversation, she suggests that she owned a famous hotel in Paris' Rue de Provence, which was once a well-known brothel address. In the end, Fernand is in a relationship with the millionaire; but they soon deliver grumpy dialogues.
Back in Paris, Antoine marries Sandra: “Now there are no more 50,000 that she can steal from me - but everything I earn. And quite legally ... ". During the wedding ceremony, of all people, Julien and a young lady from the wedding party notice each other. “Love at first sight” hits both of them like a thunderbolt and leads to the film's only happy ending.
background
The dialogues are by Michel Audiard , the characters by Michel Duran and Albert Simonin , the script was written by France Roche based on an idea by Yvon Guézel . The film was shot in Rhodes . The selected cast with Belmondo, Jean-Claude Brialy, Claude Rich, Françoise Dorléac and Marie Laforêt included the successful cast that was typical of that time. Some of the actors involved were still at the beginning of their careers, such as the sister of the leading actress Françoise Dorléac, Catherine Deneuve .
Even before its French release on September 29, 1964, the film was shown in Italian cinemas from September 18, 1964.
Staging
The story draws much of its comedy from the juxtaposition of wishful thinking and reality. Reality is shown in sometimes drastic flashbacks, while the figures in the background tell their sometimes contrasting story. The female roles balance between innocent and sly. The men move in the field of tension between naive self-overestimation, sarcasm and gallows humor.
Typical cinematic stylistic devices are slapstick-like acceleration of the film sequence, comic-like exaggerated background noises and extremely fast editing sequences. The opening and closing credits of the film implement the film title in the form of a fictional English fox hunt, with young women riders driving their future husbands into a corner and bringing them down.
Reviews
The film-dienst wrote: “In individual scenes it is quite amusing and fast-paced comedy, but it is becoming increasingly viscous and losing its self-ironic distance.” The Heyne film library judged: “A small tabloid comedy without any claim. Belmondo and Rich, real theater actors, make the story pleasant and cover up the shortcomings of the direction. "
The Protestant film observer drew the following conclusion: “The design and play of this comedy are above average, but its joke often slips into frivolous regrettably. With the corresponding reservations for adults. "
Web links
- Hunt for men in the Internet Movie Database (English)
Individual evidence
- ↑ Hunt for men. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ↑ Francois Guérif ; Stéphane Levy-Klein : Belmondo: His films - his life . Original edition, Heyne, Munich 1981 ( Heyne-Filmbibliothek ), ISBN 3-453-86032-2 .
- ↑ Evangelical Press Association Munich, Review No. 164/1965.