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Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. This may be a purely personal prejudice, but I do not often find big-scale physical humor very funny. I also like it when people have great and overwhelming passions - passions that rule their lives and are so outsized they seem like comic exaggerations - and then their passions are deliberately tweaked.
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When squad cars crash into each other and careen out of control, as they do in nine out of 10 modern Hollywood comedies, I stare at the screen in stupefied silence. In “A Fish Called Wanda,” for example, Michael Palin is desperately in love with a tank of tropical fish, and so Kline, who is equally desperate about discovering the whereabouts of some stolen jewels, eats the fish, one at a time, in an attempt to force Palin to talk.
A tearjerker for those who felt that way or have undergone a similar situation of that of the female lead (including me).
If you don’t like some points in what I have written, throw in a little comment, will yah? She is attempting to observe the airline baggage allowance but, as all travellers will probably do, has way too much excess baggage.
Set in modern day, the film starts with a scene where a photographer is interviewed by reporters.
And this is a little bit of a downer since the last movie I have seen, Megamind, was totally unpredictable. Anthony involves his fellow Pinoya€™s aide, while he, obviously, has packed a really small, light bag.
The creative bankruptcy of filmmakers who have to turn to stunt experts when their own ideas run out?


When Jamie Lee Curtis wants to seduce an uptight British barrister (John Cleese), for example, she simply wears a low-cut dress and blinks her big eyes at him and tells him he is irresistible. Needless to say, the photographer is handsome and as the scene goes on, he is seen with a baby. It’s like everything done in the film is like a representation of teens doing what they can in order to win their love. I just think that it would be nicer if the ending was a little solemn to give it a more romantic mood. Clearly, the surplus baggage is really a metaphor that continues through the filma€”Macea€™s difficulty to maneuver on from the failed relationship.
I do, on the other hand, laugh loudly at comedies where eccentric people behave in obsessive and eccentric ways and other, equally eccentric, people do everything they can to offend and upset the first batch. Since I really think that you don’t need an audience to confess your love to somebody. In “A Fish Called Wanda,” for example, a character played by Kevin Kline is very particular about one thing: “Don’t you ever call me stupid!” He is then inevitably called stupid on a number of occasions, leading to the payoff when his girlfriend explains to him in great detail why and how he is stupid and lists some of the stupid things he believes (“The London Underground is not a political movement”). Hollywood may be able to make comedies about mean people (usually portrayed as the heroes), but only in England are the sins of vanity, greed and lust treated with the comic richness they deserve. They meet in Rome, however the depth of Macea€™s heartbreak is revealed throughout the flight home, when she cries within the movie One More Chance starring John Lloyd Cruz and Bea Alonzo.
The inside joke isn’t lost around the audience, and also the John Lloyd connection is milked through the movie.
At some point, Mace even says that her ex appears like John Lloyd; Anthony asks to determine a picture, and upon examining it, refutes her delusion.
Crichton is a veteran of the legendary Ealing Studio, where he directed perhaps its best comedy, “The Lavender Hill Mob.” He understands why it is usually funnier to not say something, and let the audience know what is not being said, than to simply blurt it out and hope for a quick laugh.


BUT good thing a part of the movie ended that flow: Hunk was really in love with girl at the first place, he just did not have the courage to say it to her.
He is a specialist at providing his characters with venal, selfish, shameful traits and then embarrassing them. And he is a master at the humiliating moment of public unmasking, as when Cleese the barrister, in court, accidentally calls Curtis “darling.” The movie involves an odd, ill-matched team of jewel thieves led by Tom Georgeson, a weaselly thief who is locked up in prison along with the secret of the jewels. On the outside, Palin, Kline and Curtis plot with and against each other, and a great deal depends on Curtis’ attempts to seduce several key defense secrets out of Cleese.The film has one hilarious sequence after another.
For classic farce, nothing tops the scene in Cleese’s study, where Cleese’s wife almost interrupts Curtis in mid-seduction. Curtis and Kline slip behind the draperies while the mortified Cleese tries to explain a bottle of Champagne and a silver locket.
The timing in this scene is as good as anything since the Marx Brothers.And then there is the matter of the three murdered dogs.
One friend of mine already says she won’t see “A Fish Called Wanda” because she has heard that dogs die in it (she is never, of course, reluctant to attend movies where people die). But when the object is to inspire a heart attack in a little old lady who is a key prosecution witness, and when her little darling is crushed by a falling safe, well, you’ve just got to make a few sacrifices in the name of comedy.



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