You've heard of sight gags; it rather says a lot about the ingenuity of actor and filmmaker Pierre Étaix that the first big laughs to be had in this picture are sound gags. After quick exposition concludes with that witty punch the feature begins in earnest, the fun commences in full, and immediately 'Le soupirant' is simply, endlessly delightful. As we would see again a few years later in 'Le grand amour,' a playful whimsy figures prominently into a steady stream of bits including both sight and sound gags, prop comedy, physical comedy, clever dialogue, and situational humor. There's no two ways about it: this is a direly underappreciated classic, and it deserves far more recognition!
Albeit with fewer stunts, I'm strongly reminded of the quintessential silent masterpieces of comic geniuses like Buster Keaton or Harold Lloyd. The plot such as it is distinctly recalls those pioneers' works as a well-meaning but somewhat hapless young man is prompted to look for love, and is completely unknowing of how to go about it. Moreover, that plot is more than suitable as it mostly just serves as a vehicle for the scene writing and the silliness that ensues, and I don't think it's unreasonable to say that this movie is a heavily visual one. And as if these points of comparison weren't already pretty well established, the way the protagonist is written by Étaix and Jean-Claude Carrière, the manner in which Étaix comports himself as the star, and the man's direction all emphatically bring to mind the protagonists of the films directed by and starring those same silent whizzes. "Pierre" is quiet, unassuming, polite, and kind, but also totally ignorant of societal norms and conventions - least of all those associated with romance - as he inadvertently stumbles into one gaffe after another. I can only assume such semblances were intentional, because if they weren't, the coincidence is extraordinary. And either way, what a boon for we viewers!
Étaix absolutely dazzles in the lead role, and outside of the writing he does most of the leg work himself to make 'Le soupirant' as wonderfully funny as it is. The picture couldn't be what it is without the supporting cast, though, and by all means everyone else involved is tremendous in lending to the title's vivacious energy, and not least in giving Étaix a large retinue of characters to play off of. With this said, his direction is unquestionably just as brilliant in orchestrating every shot and scene, and this is fabulously well made in every other regard. The sets are as lovely as the filming locations; any stunts and effects that are employed, though sparing, come off superbly. The hair, makeup, and costume design are altogether outstanding; they're hardly the focal point, but definitely give a tinge of delicious flavor. And as if anything here is any less than perfect, Pierre Levent's cinematography is smooth, crisp, and vivid - the eyes with which we are allowed to bear witness to such unyielding joy - and editor Pierre Gillette splices it all together with undeniable, gratifying expertise. I cannot overstate how marvelous this is, down to every last detail.
What else is there to say? Some comedies don't age well; some hit their expiration date before they're ever released. The best comedy never grows old, however, and I'm firmly of the mind that this film falls squarely into the latter category. Frankly it's all but criminal that Étaix isn't more well known, for he demonstrates an intelligence and a bottomless capacity for radiant, glad entertainment like relatively few others can claim. As far as I'm concerned it doesn't matter who you are or what your preferences may otherwise be; this is an essential, unsung classic that everyone can enjoy, and should do so at their earliest opportunity. 'Le soupirant' is boundlessly vibrant, funny, and deeply satisfying, and earns my highest, heartiest, most enthusiastic recommendation for one and all. Bravo!
Albeit with fewer stunts, I'm strongly reminded of the quintessential silent masterpieces of comic geniuses like Buster Keaton or Harold Lloyd. The plot such as it is distinctly recalls those pioneers' works as a well-meaning but somewhat hapless young man is prompted to look for love, and is completely unknowing of how to go about it. Moreover, that plot is more than suitable as it mostly just serves as a vehicle for the scene writing and the silliness that ensues, and I don't think it's unreasonable to say that this movie is a heavily visual one. And as if these points of comparison weren't already pretty well established, the way the protagonist is written by Étaix and Jean-Claude Carrière, the manner in which Étaix comports himself as the star, and the man's direction all emphatically bring to mind the protagonists of the films directed by and starring those same silent whizzes. "Pierre" is quiet, unassuming, polite, and kind, but also totally ignorant of societal norms and conventions - least of all those associated with romance - as he inadvertently stumbles into one gaffe after another. I can only assume such semblances were intentional, because if they weren't, the coincidence is extraordinary. And either way, what a boon for we viewers!
Étaix absolutely dazzles in the lead role, and outside of the writing he does most of the leg work himself to make 'Le soupirant' as wonderfully funny as it is. The picture couldn't be what it is without the supporting cast, though, and by all means everyone else involved is tremendous in lending to the title's vivacious energy, and not least in giving Étaix a large retinue of characters to play off of. With this said, his direction is unquestionably just as brilliant in orchestrating every shot and scene, and this is fabulously well made in every other regard. The sets are as lovely as the filming locations; any stunts and effects that are employed, though sparing, come off superbly. The hair, makeup, and costume design are altogether outstanding; they're hardly the focal point, but definitely give a tinge of delicious flavor. And as if anything here is any less than perfect, Pierre Levent's cinematography is smooth, crisp, and vivid - the eyes with which we are allowed to bear witness to such unyielding joy - and editor Pierre Gillette splices it all together with undeniable, gratifying expertise. I cannot overstate how marvelous this is, down to every last detail.
What else is there to say? Some comedies don't age well; some hit their expiration date before they're ever released. The best comedy never grows old, however, and I'm firmly of the mind that this film falls squarely into the latter category. Frankly it's all but criminal that Étaix isn't more well known, for he demonstrates an intelligence and a bottomless capacity for radiant, glad entertainment like relatively few others can claim. As far as I'm concerned it doesn't matter who you are or what your preferences may otherwise be; this is an essential, unsung classic that everyone can enjoy, and should do so at their earliest opportunity. 'Le soupirant' is boundlessly vibrant, funny, and deeply satisfying, and earns my highest, heartiest, most enthusiastic recommendation for one and all. Bravo!