Good concept, poorly executed.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Blistering performances.

Well, this is the middle movie of this comedy trilogy assembling Veber, Gérard & Pierre and this is one for which i don't feel very connected : sure there is a funny moments with the 3 dads story lines but at it's the last one i watched, it's like i saw the same movie 3 times : indeed, it's always the same plot : find a missing child, 2 ways of investigation : punchy with Gérard and goofy with Pierre… Here we don't have the exoticism of Mexico but French Riviera : however as in the future Fugitifs in Bordeaux, this is not the bling-bling Nice (except Negresco hotel) but rather its slums… So it's a movie that smells good the great 80s in France but not as good as the 2 others...

I wish my memories for LES COMPERES was sharper - but I saw it in Manhattan at the Paris movie house in midtown back in 1983, so I have to struggle a little. I do know this - the plot for FATHER'S DAY (which I just reviewed) is different in several ways, weakening the film's construction a little, but giving an outlet to the the two male characters that the French film left in the air.Basically LES COMPERES is about how young Tristan Martin (Stephane Bieron) has an argument with his parents about his girlfriend, and flees with her. The mother Christine (Anny Duparen) goes and finds two previous boy-friends, Jean Lucas (Gerald Depardieu) who is a journalist, and Francis Pignon (Pierre Richard), who is an overly emotional teacher. She tells each that Tristan is their son - not the biological son of her husband Paul (Michel Aumont). And both (seperately) go after the boy - and soon find each other as a friend but rival in the issue of the boy's actual father.LES COMPERES kept the activities of the film's comedy between Depardieu and Richard, and the confused Tristan. This is fine (the script was good and tight here). However, it missed out on some wonderful comic moments that appear in FATHER'S DAY, involving the father of the boy Bob Andrews (Bruce Greenwood). He hears his wife (Nastassje Kinski) on the phone with Billy Crystal about the issue of their son's parentage, and decides to go and find the boy himself. In the process he has a series of disasters involving a porto-potty at a gas station, and a clumsy (if good natured) truck driver (Dennis Burkley), that are very funny. But nothing like that occurred in the French original.One thing that does get overly developed in the American remake (but was more effective, as it was used less frequently, in the French original) was "beaning". In FATHER'S DAY, Crystal demonstrates fairly early his ability to bean opponents on the head to knock them out or disable them. He repeats it several times. But Depardieu does not use it as frequently, and when he turns up at the end to use it against a particularly obnoxious and threatening individual he comes out looking quite effective as we are not expecting it from him.SPOILER COMING UP:At the end of both films, the boy privately tells both of his would-be fathers that each is his biological father, but should not say so to the other one (so as not to upset him). But in FATHER'S DAY, Crystal (a lawyer, not a journalist like Depardieu) confesses to his long suffering wife Julia Louis-Dreyfus that he could tell the boy was lying - he could tell from frequent experience in court. Also, unlike Richard, Williams has a potential romance in his future. As Crystal and Dreyfus decide to go ahead with their plans for a family, the characters in the American version have some kind of hope in their futures. But in the French version, the two would-be daddies end up secretly reassured of their own biological parenting of the boy. The French version is more organically complete as it is, but I do like the hope that is in store for the American counterparts at the end of the American version.

This films rocks and rolls, all with a special French flavor, a soupcon of danger, many droll scenes, yet never quite too wild to be entirely unbelievable. Depardieu cannot be compared with any other actor in the world; his talent and the vast number and variety of roles he's played are astounding. He's been funny in many films; he's more famous for his most dramatic, tragic roles, naturally -- but, for me, this is his most riotous role -- and he's the straight man, essentially. A hard thing to pull off well. I liked "Les Comperes" better than "La Chevre" -- the other, earlier pairing of Richard and Depardieu. Both films are quite funny; both actors are excellent here. This film touched a nerve with me -- as a stepfather. Later, of course, the movie got remade in America with Robin Williams and Billy Crystal -- but the magic wasn't there. The real American partner to the original "Les Comperes" is the Danny Glover and Martin Short film "Pure Luck." It's my own personal theory that "Pure Luck" is a ripoff of "Les Comperes." I mean no ill-will here. The "ripoff" is a fair one; ideas cannot be copyrighted, nor should they be -- good writers "borrow"; great ones steal. Well, "Pure Luck" has the same central chemistry; Glover and Short play off each other in an identical fashion to Richard and Depardieu. Instead of looking for a run-off young teenage boy, we have a daughter missing and a rich, corporate dad concerned -- versus a sexy, wily, strong-willed French mother in "Les Comperes." The daughter in "Pure Luck" is chronologically older, in her twenties, but her mind is, well, let's say calling her "childlike" would be overly charitable. The daughter adds to the magic in "Pure Luck" -- in "Les Comperes" the missing son is mainly that -- missing. But that's exactly as it should be, the two dads are what's it's all about. Both are excellent films. If you know some French or a lot, or if you don't mind subtitles, or if the dubbed version is very well done -- "Les Comperes" will reward you tremendously for your time. It's the better film, the more enduring -- because it remains closer to reality throughout, despite much typically Gallic, but still recognizably universal male zaniness. And it has warmth, even romance -- plus the missing boy keeps a real concern at the center of the film. It's fair to call "Pure Luck" slapstick -- but slapstick at its very best. "Les Comperes" may occasionally approach slapstick, but deserves a higher regard. Its insights are much deeper and its comic-view is more subtle (but only so in comparison to "Pure Luck"). I mean, you can't miss the humor here. See both; let me know what you think. Aren't they uncannily similar? Women will probably enjoy "Les Comperes" more, too, because of the strong role of the French mother, her self-confidence, her power over all the men -- and all so gracefully, elegantly done.

I loved this movie when I saw it the first time a long time ago, and loved it again recently. Depardieu and Richard really are the Laurel and Hardy of french films, and this movie has a whistled song line that will not leave your head for years. A must see, especially if you saw the remake "Father's Day" which used the greatest comic talents in american film, and still didn't come close to the original.