Tuesday, July 12, 2016

Danièle Thompson: “The Great Mop knighted French comedy” – Premiere.fr

I saw the film yesterday with children of 8 and 12 years, they had never seen, they loved it.
You’ve looked on a beautiful screen?

Yes, a very big TV …
And that was the blu-ray?

Yes to Besides the HD restoration is superb.
Oh, yes it makes all its character to the film. I ask this because it is a film that is important to find out in conditions of optimum projections. It’s good that the children could see it like that.

The paradox is that we are very likely to have seen and reviewed on TVs with cathode ray tubes . And never having seen the movies …
and yes it is double-edged TV, huh. The film continues to live with her but obviously she distorts. I try to go see The Great Mop in the cinema as soon as the opportunity arises. There had been memorable projection at the Paris Opera at the output of DVD box set which included the film and the Corniaud . And see the opera stage on a giant screen inside the same opera, I can tell you that it’s dizzying (laughs) . But finally the survival of the films is on TV.

Except now there are more and more TV channels, movies that are less developed, and that the so we are asking questions about the seed of the Great Mop with the younger generation.
And yes this is the era of the series. It’s like that and that’s good, first because they are very good these series, and are designed for its screens there. But yes, we must get used to The Great Mop is somehow an “old movie”. You are there because it celebrates 50 years of hand, right? (smiles) . Maybe TV will rebroadcast the least, it will be less seen it, maybe even that soon we will see not only in times rooms where Why not meet up moviegoers … and then do the little, they stayed to the end?

Oh, glued.
(laughs) It was one of the great joys of my father to see that until the end of his life his films were loved by the younger generation. He did not return. You and you had not seen for how long?

A little over fifteen years I would say. And, this is anecdotal, but I was convinced it was a Gaumont film, while not at all …
Oh no, the Gaumont film magnifier exactly! My father and Alain Poiré (flagship producer Gaumont then) were very friends, Poiré had also produced his first films, but he would not follow the the Corniaud , at least not with the conditions imposed by my father. This is Robert Dorfmann, a very independent daredevil, who agreed to produce the project. Result they are 11 million entries, and since we do not change a winning team, my father is back with Dorfmann, de Funes and Bourvil for The Great Mop . And they are 17 …

After that Alain Poiré, presents immediately grapple to your father for The Brain . Yes
and they will do some other sets, including The Delusions of Grandeur . Poiré but also missed Rabbi Jacob ! When my father said, “I wrote a comedy about Hasidic rabbis” the subject made him afraid.

What surprised me besides, reviewing The Great Mop how the film never addresses the Jewish question, nor that of collaboration. There were taboos about it while writing?
What we knew was that it was obviously not a film about the deportation … Our concern, as it there had been little comedy about the war, it was if it was not going to shock the French we laugh with the Germans and all this black period that had ended just twenty years ago. What amused us was to tell the story of these two French means not heroes nor collaborators – what the vast majority of people during the war. I think that choice is the great key to the popularity of the movie, even today. The story is told of two people who are not ready to become heroes but who will eventually become the necessity. One of our larger models it was To Be Or Not To Be, but we could not afford to go as far as Lubitsch. All jokes Concentration Camp Ehrhardt, Lubitsch can do because we are 42 and still know nothing of the horror of the camps. We, we knew. And that was too close to us. My father also waited a year for fifteen tackle head what was more black in this period, with The Ace of Aces

50 years later, what legacy left by you the Great Mop in French popular cinema?
I think it was somewhere “ennobled” French comedy . Before The Corniaud and The Great Mop , comedies were still “small films” in black and white. There it was the first time in France a director arose aesthetic issues as part of a film to make people laugh. It still had Claude Renoir in the photo, sublime scenery, incredible exterior, Georges Auric music … We were also influenced by American cartoons, and all the crazy and colorful visual ideas that go with it, it was not common at that time, huh. In short, for me the heritage of The Great Mop is just that: a certain degree of ambition for all the comedies that were made after. Claude Zidi was one of his heirs there, for example …

Uh not all films Zidi, anyway …
Well, yes, not all movies but in fact … (silence) in fact there was little heirs.

it’s funny that’s what we are also said: one of the most popular films of the french cinema has little spread. Ten years after him, all the comedies begin to resemble the TV and sound-good new market.
The production system already beginning to change, too. Independent producers were beginning to be scarce. And then people realized that it was enough to put De Funes on camera to bring at least three million French in theaters. It was easy money. So yes it somewhat ailing, must admit. It’s a shame because if The Great Mop continues to last, it is because visually it is still beautiful, imposing, impressive. When I see him, I tell myself that my father had everything he wanted on this film there. All. He was lucky that he has allowed this madness, but he was able to make a great movie.

The Great Mop in theaters in spring restored version 13 July:


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