RETURN OF THE TALL BLOND MAN WITH ONE BLACK SHOE

France, 1974, 89 Minutes, Colour.
Pierre Richard, Mireille Darc, Jean Carmet, Jean Rochefort, Michel Duchaussoy.
Directed by Yves Robert.

The Return of the Tall Blond Man with the One Black Shoe is a sequel to the very popular original: The Tall Blond Man with the One Black Shoe. It was a star vehicle for French comedian Pierre Richard. He is backed up by the strong character actors Jean Carmet and John Rochefort.

The film is a spoof on the popular spy stories of the time – enabling Pierre Richard to do some antics as a would-be spy. (It is something of the same vein as Peter Sellers’ Inspector Clouseau in the Pink Panther films.)

The direction is by the director of the original film, Yves Robert and the screenplay has been co-written by Francis Veber, the prolific writer of farcical comedies including La Cage Au Folles as well as The Closet, Partners, Shut Up (Tais Toi). Pierre Richard appeared in the French version of Veber’s Three Fugitives (the American version starring Nick Nolte and Martin Short).

1. Could this film stand for entertainment on its own? Was it evident that it was a sequel? How effective was the resume of the first film via the playing cards of the various designs and the humorous commentary?

2. What was the nature of the tone of this film, the quality of the humour? The contrast of Paris and Rio? The use of music, especially the parody of the James Bond themes? The blend of reality and fantasy? How successful was the blend?

3. How effectively did this film spoof the spy genre and the gangster genre? Why was it effective in its spoofing and its commentary?

4. How strong was the plot, the exposition of the complications, the varying styles of humour in the plot?

5. The satire of the army officials? The role of the colonel and his assistant, their menace, their control and deviousness? Their ability to change plans at a moment's notice? Their work for self-protection? Their cruelty, double-crossing, two-faced attitudes, smiling and then frowning etc.?

6. The satire on French government? The Minister for Agriculture and his inability to handle the ministry of the Interior? The satire on the keen captain who had dossiers on everyone and advised the minister?

7. How much satire was there in the final confrontation with the guns? The presentation of suicide of honour. the easy way out with blanks? What feeling was the audience left with at the end as regards officialdom?

8. How did the film contrast Francois and his personality, an easy-going man. bright and happy, enjoying the dancing and the beaches at Rio? His happiness with Christine? The long sequences of humour with his escapes from death and then his being protected? How effective were these. e.g. his being buried in the beach?

9. The contrast when the pressure was put on him? His dark glasses and arrival at Paris, the angles of photography and the music to satirize him as a new James Bond? His non-committal answers to his friends etc.?

10. How enjoyable were the staged heroics to prove that he was a genuine spy, the unexpected mishaps? The gangsters being chased with stones, the wrong policeman with the karate etc.? How funny in themselves, as contributing to the plot?

11. The role of Maurice and his puzzle, his arrival in the apartment when all had their guns drawn etc., his interfering with the contrived heroics? The importance of the plan with the wives?

12. How humorous and dramatic was the climax during the concert? The participation of the orchestra etc.?

13. The irony of the ending with the minister?

14. How humorous, the criticism of espionage, the agencies and their using people, the use of individuals? A serious undertone to the broad humour?