Touche pas à la femme blanche

Filmed in Paris, not Rome. And more a critique of American politics than Italian. They used the building site from the demolition of the traditional Les Halles district in the heart of the city as the location for their wild, wild west - including the huge pit that is now the Les Halles shopping center (and cinemas, swimming pool, parking lot, etc). Inspired! All the scenes are set in and around the building site. Custer makes his last stand, horses gallop past modern cafés, the familiar Parisian architecture rings the pit, and a Pinkerton agent Pinkerton himself) walks around in modern dress. Throw in every leading French actor of the era (some of them still around) as both cowboys and Indians and you've got the makings of a fantastic farce.

I really like Marco Ferreri's films, very much, but I do not like this movie. It's uninteresting, banal, boring script. The four great actors from the masterpiece "La Grande Bouffe" (1973), Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognazzi, are also present here but, working only with no-value replicas, do not make the film worthy of interest. The presence of several other great actors such as Alain Cuny, Serge Reggiani, Paolo Villaggio, Franco Fabrizi, does not change anything for the better. However, the performance of Michel Piccoli (the only one still alive of all), which looks very commercially in the role of Buffalo Bill and succeeds a charming American accent, is worthy of admiration.

1974's DON'T TOUCH THE WHITE WOMAN! is an an odd, farcical critique of Capitalism and Manifest Destiny setting General Custer's Battle of the Little Bighorn in the early'70's with Richard Nixon as President, and a large, controversial, construction pit in Paris, France filling in for the site of the famed Montana massacre. The location of the pit, known as Les Halles, had been Paris's central wholesale marketplace for nearly 800 years before being razed to make way of a multi-tiered commercial business center/modern shopping mall, and - particularly important to the City's growth - a central railroad hub (something that it's helpful to know in order to fully "get" an allegory in the film regarding the need to displace or eliminate the local Natives in order to make way for the railroad). Additional contemporary political commentary surfaces when justifications given for taking action against the Natives, parallel those used by the French against the Algerians, and by both the French and Americans in Vietnam. If all this makes the movie sound thoughtful or fascinating, I am sorry to report that it is neither, the most interesting aspects being the broad performances by an all-star cast led by Catherine Deneuve (Madame Boismonfrais; trans. Freshwood?), Marcello Mastroianni (Gen. Custer), Michel Piccoli (Buffalo Bill), Philippe Noiret (Gen. Terry) and La Cage aux Folles co-star, Ugo Tognazzi as Custer's famed Indian Scout, Mitch Bouyer, portrayed here as a duplicitous chameleon playing both sides, while selling "Indian artifacts" to tourists that are actually made by white women in sweatshop conditions.

Leave it to Marco Ferreri to place Custer's defeat in the hands of over the top Marcello Mastroianni, Philippe Noiret, Catherine Deneuve and many other great actors. Staged in Paris where the building-pit of what is now shopping-mall Les Halles represents the prairie all forms of humour are on display, ending in black. Humour that is. A film not be missed by comediens and their followers.

Marco Ferreri's "Touche pas a la femme blanche" - "Don't Touch the White Woman" in English - could easily be an extension of "Little Big Man" or a movie version of "A People's History of the United States", although it came out a few years before Howard Zinn published his famous book. It portrays the US government's crusade to exterminate the Indians, reenacted in 1970s Paris (complete with references to Pres. Nixon, and even Watergate). Marcello Mastroianni makes a chilling Gen. Custer, but Michel Piccoli is quite funny as Buffalo Bill: he sounded as though he was trying to put on an American accent while speaking French!

I read about how Marco Ferreri played a major role in the changing Italian cinema of the '60s and '70s. Certainly this film shows that. Specifically, as the United States had been taking a different look at its own history - our own glasnost and perestroika, you might say - Europe was also challenging the American cultural myth (no surprise there). I definitely recommend the movie. Also starring Catherine Deneuve and Ugo Tognazzi.