La Cage aux Folles

I say that exept in a few cases, the original never disapoints. This is a prime example of that. The perfect French comedy about a gay couple, who have a son (It's one of theirs) who is getting married. Since the son's in laws are stuck up rich people, they have to hide they're gayness for one night. Great (anf hilarious) entertainment may have been later re-done, but it can never be mathced. One of the best foreign (and comedic) films ever made. A+

Already considered a mainstream cult classic, "La Cage aux Folles" ranks as one of the biggest crossover box-office hits ever to land on American soil. And for very good reason. Italy's Ugo Tognazzi and Gallic Michel Serrault are the most inspiring and oddest couple to appear on screen since Jack Lemmon and Walter Matthau, and just as entertainingly colorful as Siegfried & Roy!

Tognazzi essays the role of Renato, a suave, successful, over-the-hill cabaret owner whose nightly drag revues spotlight his long-time partner Albin (who goes by the stage name "Zaza"), a touchy, temperamental, hopelessly mincing diva who has got to be seen to be believed. A neurotic wreck most of the time, Zaza (Serrault) is a full-time job for the exasperated Renato, needing constant coddling and stroking when it comes to "her" age (she's up there), figure (a deep fondness for chocolates hasn't helped), and affairs of the heart (they are celebrating their 20th year anniversary, but the invariably jealous Albin/Zaza is sure Renato is playing around while she's performing). Getting the insecure Zaza on stage every night usually includes your usual number of psychoanalytical sessions, shoe-throwing tirades and prescription medicines.

The fun begins after Renato's son, Laurent, conceived during a temporary moment of heterosexual abandon ("you should try everything once"), informs his father of his plans to marry -- a girl! The daughter of a staunch, right-wing bureaucrat whose political party is in the midst of a shocking moral scandal, Laurent is obligated to introduce her priggish parents (who think a big traditional wedding could restore the party's reputation) to his "straight" parents. The fiancee has passed them off as a respected cultural attaché for the Italian embassy and a Catholic housewife/mother of six.

The resulting farcical set-up unleashes a barrage of priceless comic moments as the pair must not only refurnish their "gay-ly" luxorious apartment, which is right above the nightclub, but pass themselves off as heterosexuals. The crème de la crème of all scenes takes place at a restaurant where the somewhat more virile Renato instructs Albin how to drink tea, butter toast, and walk butch á la John Wayne! The dinner party segment too is absolutely crammed with riotous sight gags, especially the erotically-designed soup bowls and shoeless butler bits.

The cast is impeccable. Serrault and Tognazzi are to be cherished for pulling off such an acting coup. Under normal circumstances, these two roles could be hammy, forced and quite offensive. But in the hands of this pair, they are not only funny, but credible and even touching. Serrault, in particular, is a marvel, with every gesture, tone and vocal inflection coming from a real emotional center, while Tognazzi's charming boulevardier provides the perfect "straight" man to Serrault's antics. Together, their "I am what I am" message really hits home. You believe these two as a couple. You believe their longevity. You believe their spats. You believe their devotion.

Michel Galabru and Carmen Scarpitta are superb as the strict, moral-minded parents who slowly come to the horrifying realization that all is not right with their prospective son-in-law's family. Benny Luke has some wonderfully outré moments as the gay couple's barefoot live-in "French maid" who dusts the house in skimpy hot pants and very little else. Claire Maurier is effective as Laurent's estranged mother, who tries to get back in Laurent's good graces by agreeing to be part of the dinner party charade.

Two lesser sequels and an abominable American remake cannot tarnish the beauty of the original. WARNING: When renting this video, make sure you rent the version with sub-titles, not the inferior English-dubbed version. Much of Michel Serrault's magic is in his voice.

I first saw La Cage Aux Folles after its American remake "The Birdcage". This was unfortunate because that meant the plot was already familiar to me. However, it was even more hilarious than its American version. The characters in the American version are nearly exact duplicates of their French counterparts. Somehow, the whole movie appears funnier in its original French (even though I don't speak French).

American audiences may like the remake better because the script was rewritten so that its humor was more topical. For instance, Gene Hackman's character is an obvious farce of Bob Dole, who was a prominent republican leader at the time. The French version contains a more generic conservative versus liberal dialogue.

However, if you can stand reading the translations, La Cage Aux Folles is well worth your time. I enjoyed it thoroughly.

A wonderful gallic romp where even the most hardened must surely empathise with the ridiculous predicaments our protagonists weave themselves into. Probably Michel Serrault's greatest role to date, he is ably supported by Ugo Tognazzi. Oozing European style throughout. The American Bird Cage is a very poor imitation.

"La cage aux folles" is a brilliant comedy. It is the film upon which "Bird Cage" with Robin Williams is featured. One should not miss this classic expose of trans sexual entertainment. The novelty of such sexual innuendos was rare in 1978 when this picture was released. If is followed by an equally funny comedy, "La cage aux folles II", another film to be added to the must see category. One does not even require the translations across the bottom of the screen. One can simply enjoy the artistic perfection of pure cinematic comedy as presented visually. The French subtitles are well adapted. The scenery is clever. The cast is perfect. Don't miss this great comedic success.