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On November 20, 2024, Malavida Films is releasing three films with Pierre Richard in theaters. As these are not his greatest popular successes, this is a great opportunity to rediscover this cult actor through more or less iconoclastic works.
A CLOUD BETWEEN THE TEETH (1974)
By Marco Pico
With Pierre Richard, Philippe Noiret, Claude Piéplu, Jacques Denis, Michel Peyrelon, Hélène Vincent…
When comes out “A cloud between the teeth“in 1974, Pierre Richard had already well cultivated his art of burlesque and his image as a candid, poetic and endearing character. Since his first notable role on the big screen in 1968 in “Alexander the Blessed” by Yves Robert, where he already worked alongside Philippe Noiret, he directed himself in three feature films (“The Distracted“, “Alfred’s Misfortunes” et “I know nothing, but I will tell everything“) and is above all crowned with international success which makes it a star beyond France: “The Tall Blond with a black shoe“, again under the direction of Yves Robert and on a screenplay co-written by Francis Veber. Even if the nicknames “Distracted” and “Grand Blond” will stick with him for life, Pierre Richard dares to take a step aside under the direction of Marco Pico, who signs his first production with “A cloud between the teeth” after assisting Yves Robert and Pierre Richard on several films.
Press photographer alongside a histrionic reporter played by Philippe Noiret, Pierre Richard gives substance to Prévot, a character who is certainly airheaded, but who appears more angry (even surly) and above all darker than his usual roles. Unshaven, he drinks more than he should, drives dangerously, screams, swears… In this satirical fable denouncing a certain type of press which delights in sordid news stories, the Richard/Noiret duo is nicknamed “the Cowboys” . They are thus a sort of hunters of darkness and misery, regularly sinking into voyeurism, cynicism and selfishness. So obsessed with their perpetual search for a hypothetical glory that their stories and clichés would bring them, they end up triggering a series of imbroglios and misunderstandings after losing Prévot’s kids. An absurd manhunt then begins, both funny and grating, where we also delight in the character played by Claude Piéplu, an extravagant and immoral press boss who only thinks about the scoop at all costs. Absolutely worth seeing or rewatching!
WE WILL HAVE SEEN EVERYTHING! (1976)
De Georges Lautner
With Pierre Richard, Miou-Miou, Jean-Pierre Marielle, Gérard Jugnot, Henri Guybet, Sabine Azéma, Renée Saint-Cyr…
Having continued to achieve popular successes with Claude Zidi (“Mustard goes up my nose” et “The shallot race“) and again Yves Robert (“The Return of the Tall Blond“), Pierre Richard then shoots for Georges Lautner. If the tone of “We will have seen everything!” is lighter than in “A cloud between the teeth“, the subject is potentially delicate for its aura among family audiences since it involves having fun with pornographic and erotic cinema, a genre that is booming since the end of censorship following the election of Giscard to the presidency (recall for example the immense success of “Emmanuelle” at that time).
Pierre Richard plays a photographer (no press, this time…) who dreams of becoming a filmmaker and who ends up reluctantly agreeing to have his first script reworked to become a porn film that he would shoot himself. Embarked a little against his will, this sweet dreamer is constantly embarrassed by the situations he has to face, and he must juggle between a producer (Jean-Pierre Marielle) and his assistant (Gérard Jugnot) who always want more sex and provocations , a co-writer friend (Henri Guybet) who is not aware of the direction of the project or even a girlfriend (Miou-Miou) who threatens either to dump him or to apply as an actress in said X-rated film! Note that the character of Pierre Richard is once again called Francis Perrin, as in the diptych of “Grand Blond”. The screenplay is therefore obviously by Francis Veber, who made it the same year in his first production, “The Toy“, again in the shoes of Francis Perrin whose identity he will find for “The Goat” before moving on to his variant, François Pignon, in “The Comperes” et “The Fugitives“. If this Veberian stereotype has been embodied by other actors, only Pierre Richard has taken on these identities several times on screen (and therefore in 7 films in total).
Between misunderstandings, burlesque gags, boasts and succulent replies, “We will have seen everything!” is a candy to be enjoyed without moderation, which also does not lack tenderness and which ends with an underwater scene in a swimming pool, with a mixture of audacity and poetry.
THE RAVY OF THE FOOLS (1993)
By Marco Pico
With Pierre Richard, Michel Piccoli, Dominique Pinon, Florence Pernel, Edith Scob, Jacques Denis, François Hadji-Lazaro…
After “The Fugitives“in 1986, Pierre Richard accumulated failures to varying degrees, both in his attempts to foray into a more dramatic genre and in comedies which were no longer as successful (“To the left when exiting the elevator“, in 1988, did not succeed as much as hoped). In 1991, he returned to directing with “We can always dream” (which also had modest results at the box office) for which he co-wrote the screenplay with Olivier Dazat, then it was the same duo who signed the script for “The Run of Fools“, for which the actor finds Marco Pico directing, almost 20 years later”A cloud between the teeth“.
Rather than a duo as he was often used to, Pierre Richard finds himself within a triangle whose two other vertices he desperately tries to manage: two madmen played by Michel Piccoli and Dominique Pinon. Consequence of the issues: Pierre Richard is not the main clown on duty, this role being rather assigned to Pinon. The film constantly walks on a tightrope: it’s not always the slapstick comedy that takes over, as there are so many scenes and themes tipping the balance towards drama. In addition to psychiatry, the feature film indeed talks about mourning, attempted murder, voyeurism or even unhealthy jealousy, and certain dialogues are sometimes full of vulgarities, sometimes imbued with rather metaphysical philosophy. The humor therefore becomes partly grating, and Piccoli’s performance sometimes makes the whole thing disturbing. It is not forbidden to feel a certain discomfort in the face of certain situations (for example, an aborted strangulation or a female character played by François Hadji-Lazaro who is clearly humiliated), but it is not forbidden to laugh either…
INFORMATIONS
Malavida Films official website
Sure, let’s get started!
Guest 1: My name is Catherine, and I am an avid fan of French cinema. I have been following Pierre Richard’s career for a long time, and I am excited about the release of these three films.
Guest 2: I am Julien, a film critic who has been studying the works of French filmmakers for over a decade. I am curious to see how Pierre Richard’s performances will be received by modern audiences.
Catherine: Could you please tell us more about Pierre Richard’s portrayal of the character Francis Perrin in “We Will See Everything!”? How would you describe his performance compared to his other works?
Julien: Well, Catherine, in “We Will See Everything!” Pierre Richard plays Francis Perrin, a character that was created by famous screenwriter Francis Veber. This character has become quite emblematic of Richard’s career, as he plays it in 7 films. Compared to his other works, this role allows Pierre Richard to showcase his comedic talents while also navigating through more mature and complex themes such as pornography and romantic relationships. It’s an interesting blend of humor and sincerity that sets this film apart from his other comedies.
Catherine: Absolutely! I found the underwater scene in “The Rave of Fools” particularly poignant. Can you elaborate on how Michel Piccoli and Dominique Pinon’s performances complement Pierre Richard’s character in this film?
Julien: In “The Rave of Fools,” Pierre Richard finds himself in a complex triangle with Michel Piccoli and Dominique Pinon. While it is not one of his most iconic roles, I believe that his performance still holds its own. He manages to balance the humor and drama quite well, which is quite challenging considering the dark themes in the film. Piccoli and Pinon both give powerful performances as well, adding depth to the plot and creating an intriguing dynamic between the three characters.
Catherine: That’s interesting. I hadn’t thought about it that way before. Speaking of challenging roles, I am curious about Pierre Richard’s transition from comedic to dramatic roles. How did audiences respond to his performance in “Cloud Between the Teeth”?
Julien: “
