[FilmReview]TheTallBlondManwithOneBlackShoe(1972)7.4/10

SuccessfullyspawningasequelandaHollywoodremake,TomHanks’starrerTHEMANWITHONEREDSHOE(1985),andauguredfromitsingeniouslegerdemainintheopeningcredits,YvesRobert’sTHETALLBLONDMANWITHONEBLACKSHOEisabeguilingdivertissementthatmockstheespionageprofessionandretainstheessentialGallicfunnybone.Ourprotagonististhetitulartall(?,helooksveryaverage),blondFrançoisPerrin(Richard),aFrenchviolinist,whoisrandomlychosenasabaitbecausehewearsoneblackshoeandonebrownshoe(owingtoapracticaljoke)whenhearrivesinOrlyairportfromMunich,awhimofPerrache(LePerson),theassistantofLouisToulouse(Rochefort),thechiefofFrance’sCounter-Espionagedepartment,whoclandestinelyretaliateshistreacheroussecond-in-commandBernardMilan(Blier)bydeliberatelylettingthelatteronthatFrançoisisatopspywhohaskompromattohazardhisposition.Milanrisestothebaitimmediately,withhiswholeteamworkinginsuccessiontostakeFrançoisout,breakintohisapartment(andplayingwithasetofmatryoshkadolls)andkeeptabsonhisvisitorsandtelephonecalls,tryingtofishoutwhatheknows,obviously,alltonoavail.OnlyafterarecoilinghoneytrapsetbyagentChristine(Marc),MilanfinallyloseshispatienceanddemandsFrançoistoberoundlydispatched,butunbeknowntohim,PerracheassignstwoagentstosafeguardFrançois,sotheensuinginternecineshoot-outtakesaheavytollonbothsides,andcompletelybehindFrançois’sback.Yes,theoff-pisteleitmotifisthat,duringthewholeshebang,Françoisisinsouciantlyobliviousaboutthehappenings,resumeshisdailyroutines-atrystwithPaulette(Castel),theharpistinthesameorchestraandthewifeofhisbestfriendMaurice(Carmet),apercussionist-andplaysinaneveningconcert(acock-uptothedismayoftheconductor,playedbyRoberthimself),thenawee-hourconsummationwiththemysterious,sultryChristine,whoevenmoremysteriously,fallsheadoverfeetforhimanddefectshersuperiorafterward,andinthejollyending,thepairfliestoRiotogether,indifferentairlinercompartmentsthough,onlyleavingMaurice,besetbyhisnumerousencounterswiththegoings-onanditsunsavoryaftermath,firmlybelievesthatheismentallyunstableandneedsheavymedication.ComédienPierreRichardrelaxedlyinhabitsFrançoiswithamix-bagofclownish,aw-shucks,yetlouchefacades(althoughgobbinggumsintheairportdoesn’tleaveagreatfirstimpression),playingoffagainsttheagents’collectivecallousnessanddeadseriousness,heisendowedwithaBenigni-esquecomicalfacilitytodampentheplot’sinnateimplausibility,soisJeanCarmet,adutifulfoilthatnailsthedeadpanimpressionafterhischaracterbecomesincreasinglyenmeshedwithandbefoggedbycontradictorysituations,somuchsothatquestioninghisownsanityseemstotheonlypossiblewaytojustifyit.Allinall,thefilmisathoroughlypleasurablevintagecomedythathasenoughsophisticationandélantospareforasecondgo-round.referentialentries:Robert’sMYFATHER’SGLORY(1990,7.7/10)andMYMOTHER’SCASTLE(1990,7.8/10)本文版权归作者他他所有，任何形式转载请联系作者。