Can you ever think of a movie that combined sci-fi with folk/country culture? Don't try, there's only one, a little French treat titled: "The Cabbage Soup", the penultimate movie of old-time partners Jean Girault and Louis de Funès and certainly their ultimate classic if we forgive the final "Gendarmes" movie in 1982. Critics literally spat on this soup, but it aged like a good wine
or did people learn to relate to the two grumpy old men, now that they grew more wisdom
and less hair?
Because "The Cabbage Soup", albeit a sci-fi movie, is less about aliens than it is about soups. The film is set in a rural village that looks like a ghost town, victim of urban expansion, so blatant the mayor would trade its remain dignity for a touristic park to keep it alive. There's no park yet and in one of the last occupied spots two farmers still live: a well digger named Le Bombé (Jean Carmet) and a clog maker named Le Glaude, played by Louis de Funès. They're alone, their only fun consist of sharing some bread, wine, thoughts about life and death and even indulging to a few flatulent contest. Yes, you'll hear a lot of farting in this film.
I guess this isn't the film's finest moment, not it is the one we'd love to remember from actors De Funes and Carmet, but why should we deem it as 'genius' when Mel Brooks employ it? I won't try to over-analyze this moment, I don't enjoy it either but to the film's defense, it's not used gratuitously, it's the fart that literally "calls" the alien (what difference would have it makes if it were belches?), and in a way it established the farmers' regression to ennui-driven childishness. And paraphrasing 'Mel Brooks', I'll object against the vulgarity label, the film like "The Producers" rises above vulgarity.
Indeed, the bad odors are immediately covered by the delightful aroma coming of the cooking-pot, just like when you enter the kitchen and can tell your favorite meal is being prepared. The farmers live alone but still have enough ingredients to display the most heart-warming hospitality for everyone, including an alien. Even if he's dressed like a SM chick, and makes gobbling noises, like an acute internet used said "he's no less ridiculous than an Ewok". And how refreshing that for once that an Alien comes to Earth, he doesn't visit the White House (or the Elysium Palace), that's what a good French sci-fi film should have, not the 1979 wannabe American ersatz with the Gendarmes.
Yes, forget about these invasion tiresome plots, and imagine "Close Encounter with the Third Kinds" as guests for a Thanksgiving dinner and you'll have a clue about how heart-warming the film is. "The Cabbage Soup" deals with the relationship between friends, between a man and his memories, not to mention, his future. The catalysis to all these events will be a friendly alien played by the lovable rotund comical actor in his memorable debut: Jacques Villeret, the unforgettable François Pignon from "Dinner for Schmucks". It is only fitting that he could play with the then greatest comical actor.
And De Funès was already weakened by his heart condition and after "The Miser", his other co-adaptation with Jean Girault, his need to restrict his roles had uncontrollably brought more sadness and poignancy to his acting. I deplored his work didn't have taken that path earlier, there's something in Funes' contemplation of loneliness aging and declining health that echoes the tragedy of French farmers. If the promises of suicide made by Le Bombé play like a running gag, keep in mind farmers is the profession with the highest-rate of suicides in French, with cops, which De Funès also played ironically. De Funès never hid his admiration for his idol Chaplin, and while he never achieved the dream to make a silent masterpiece, this film is the closest to Chaplin's "Limelight".
It's De Funes "Limelight" as well as his twilight and one of a certain vision of France. There's a statement made in this film, about French roots and origins, symbolized by something as simple and heartfelt as a cabbage soup. Many moments can strike as outdated, childish or not too funny, but it's on the highest spots that this film hits a sensitive chord, one involving the resurrection of Glaude's deceased wife coming back at twenty and unable to resists to the call of the city. The attractively decadent town planning is even more powerfully rendered in a scene where the two farmers are like monkeys in cages visited by tourists who throw peanuts at them, a dying breed indeed.
One could ever draw a sad parallel with the evolution of French cinema. De Funès' time was over, but it needed a final hurrah. And I applaud Girault for having the guts to conclude the film in such a cheerful way. While it might strike as a sort of Deus Ex Machina, you can't just resist to the sight of three actors, all deceased by now, playing accordion and going aboard a flying saucer to a planet where death doesn't exist. I would love to imagine there's such a place where Funes, Carmet and Villeret (and Girault) are sharing a few jokes and enjoying themselves just no farts!
"The Cabbage Soup" is really one of a kind, but it does treat its material rather seriously, the composer himself, veteran Raymond Lefebvre wanted to make a music in the wave of electronic music and mix with a popular folk song, needless to say that the theme is one of the most popular of French cinema, a regular ringtone and one of the film's elements of endearing success.
There's a cheerfulness, a gentleness and a tender poignancy in "The Cabbage Soup" but ultimately you'll savor the film like the best meal with your friend, and a last supper with comical legend Louis de Funès.
Because "The Cabbage Soup", albeit a sci-fi movie, is less about aliens than it is about soups. The film is set in a rural village that looks like a ghost town, victim of urban expansion, so blatant the mayor would trade its remain dignity for a touristic park to keep it alive. There's no park yet and in one of the last occupied spots two farmers still live: a well digger named Le Bombé (Jean Carmet) and a clog maker named Le Glaude, played by Louis de Funès. They're alone, their only fun consist of sharing some bread, wine, thoughts about life and death and even indulging to a few flatulent contest. Yes, you'll hear a lot of farting in this film.
I guess this isn't the film's finest moment, not it is the one we'd love to remember from actors De Funes and Carmet, but why should we deem it as 'genius' when Mel Brooks employ it? I won't try to over-analyze this moment, I don't enjoy it either but to the film's defense, it's not used gratuitously, it's the fart that literally "calls" the alien (what difference would have it makes if it were belches?), and in a way it established the farmers' regression to ennui-driven childishness. And paraphrasing 'Mel Brooks', I'll object against the vulgarity label, the film like "The Producers" rises above vulgarity.
Indeed, the bad odors are immediately covered by the delightful aroma coming of the cooking-pot, just like when you enter the kitchen and can tell your favorite meal is being prepared. The farmers live alone but still have enough ingredients to display the most heart-warming hospitality for everyone, including an alien. Even if he's dressed like a SM chick, and makes gobbling noises, like an acute internet used said "he's no less ridiculous than an Ewok". And how refreshing that for once that an Alien comes to Earth, he doesn't visit the White House (or the Elysium Palace), that's what a good French sci-fi film should have, not the 1979 wannabe American ersatz with the Gendarmes.
Yes, forget about these invasion tiresome plots, and imagine "Close Encounter with the Third Kinds" as guests for a Thanksgiving dinner and you'll have a clue about how heart-warming the film is. "The Cabbage Soup" deals with the relationship between friends, between a man and his memories, not to mention, his future. The catalysis to all these events will be a friendly alien played by the lovable rotund comical actor in his memorable debut: Jacques Villeret, the unforgettable François Pignon from "Dinner for Schmucks". It is only fitting that he could play with the then greatest comical actor.
And De Funès was already weakened by his heart condition and after "The Miser", his other co-adaptation with Jean Girault, his need to restrict his roles had uncontrollably brought more sadness and poignancy to his acting. I deplored his work didn't have taken that path earlier, there's something in Funes' contemplation of loneliness aging and declining health that echoes the tragedy of French farmers. If the promises of suicide made by Le Bombé play like a running gag, keep in mind farmers is the profession with the highest-rate of suicides in French, with cops, which De Funès also played ironically. De Funès never hid his admiration for his idol Chaplin, and while he never achieved the dream to make a silent masterpiece, this film is the closest to Chaplin's "Limelight".
It's De Funes "Limelight" as well as his twilight and one of a certain vision of France. There's a statement made in this film, about French roots and origins, symbolized by something as simple and heartfelt as a cabbage soup. Many moments can strike as outdated, childish or not too funny, but it's on the highest spots that this film hits a sensitive chord, one involving the resurrection of Glaude's deceased wife coming back at twenty and unable to resists to the call of the city. The attractively decadent town planning is even more powerfully rendered in a scene where the two farmers are like monkeys in cages visited by tourists who throw peanuts at them, a dying breed indeed.
One could ever draw a sad parallel with the evolution of French cinema. De Funès' time was over, but it needed a final hurrah. And I applaud Girault for having the guts to conclude the film in such a cheerful way. While it might strike as a sort of Deus Ex Machina, you can't just resist to the sight of three actors, all deceased by now, playing accordion and going aboard a flying saucer to a planet where death doesn't exist. I would love to imagine there's such a place where Funes, Carmet and Villeret (and Girault) are sharing a few jokes and enjoying themselves just no farts!
"The Cabbage Soup" is really one of a kind, but it does treat its material rather seriously, the composer himself, veteran Raymond Lefebvre wanted to make a music in the wave of electronic music and mix with a popular folk song, needless to say that the theme is one of the most popular of French cinema, a regular ringtone and one of the film's elements of endearing success.
There's a cheerfulness, a gentleness and a tender poignancy in "The Cabbage Soup" but ultimately you'll savor the film like the best meal with your friend, and a last supper with comical legend Louis de Funès.