This is the last of four swashbucklers from France I've scheduled for viewing during this Christmas season: the others (in order of viewing) were the uninspired THE BLACK TULIP (1964; from the same director as this one but not nearly as good), the surprisingly effective LADY Oscar (1979; which had originated as a Japanese manga!) and the splendid CARTOUCHE (1962). Actually, I had watched this one not too long ago on late-night Italian TV and recall not being especially bowled over by it, so that I was genuinely surprised by how much I enjoyed it this time around (also bearing in mind the baffling lack of enthusiasm shown towards the film here and elsewhere when it was first announced as an upcoming DVD release from Criterion).Incidentally, FANFAN LA TULIPE has quite a bit in common with the afore-mentioned CARTOUCHE: not just cast and crew members (producers Georges Dancigers and Alexandre Mnouchkine, cinematographer Christian Matras, actor Noel Roquevert) but plot-wise as well – in fact, the hero is a womanizing soldier (Jean-Paul Belmondo's Cartouche had also had a brief military spell) who's loved by a fiery girl (in this case, gypsy Gina Lollobrigida) while he's himself obsessed by an impossible love (here, it's none other than the king's daughter)! As in the later film, too, Fanfan (an ideally cast Gerard Philipe who, ironically, is so full of life here that one finds it hard to believe that he would be stricken down by cancer within 7 years' time) is flanked by two fun-loving yet cowardly men (one of them is actually his superior officer and the heroine's own father) and opposed by an unscrupulous figure within his own ranks (the ageing Roquevert, with whom the hero eventually engages in a rooftop duel since he too has amorous designs on the gypsy girl)!; for the record, Lollobrigida will rejoin Philippe in her next film, Rene Clair's delightful romantic fantasy LES BELLES DE NUIT (1952).FANFAN proved to be a big box-office hit on its home-ground and even copped a surprising (but well-deserved) Best Direction award at Cannes over more renowned films like AN American IN Paris (1951), DETECTIVE STORY (1951), OTHELLO, UMBERTO D. and VIVA ZAPATA! In fact, its popularity ensured its re-release in a computer-colored version (presumably for the benefit of viewers who wouldn't touch a black-and-white product with a ten-foot pole) and the Criterion DVD itself contains a sample from this variant; being obviously a foreign-language title, there's also the dubious choice of an English-dubbed soundtrack but, even if these proved not especially painful to sit through considering, when all is said and done, there's simply no substitute for the original! FANFAN LA TULIPE (a nickname given the hero by a young Genevieve Page as the celebrated Madame De Pompadour) contains about as much comedy as (the expected) action and romance; while some may find this overwhelming, I don't agree myself as I enjoyed the sharply satirical narration and, on the whole, this combination is comparable with Jerzy Skolimowski's equally droll THE ADVENTURES OF GERARD (1970). That said, the swordfights here are remarkably forceful for an essentially lighthearted enterprise (particularly a scuffle in the woods and the ambush at a convent) and the film itself rather adult at times (with numerous allusions to sexuality as well as coarse language adopted throughout) when viewed back-to-back with vintage Hollywood fare as I did now; the climax, then is quite ingenious: the enemy forces (who, amusingly, are made to speak in speeded-up gibberish!) are depleted by our heroic trio alone, much to the king's amazement who, as portrayed by Marcel Herrand – best-known for his role of leader of the Parisian underworld in Marcel Carne''s CHILDREN OF PARADISE (1945) – is himself something of a lecher.P.S. An Italian TV channel has been threatening to screen Christian-Jaque's promising CHAMPAGNE FOR SAVAGES (1964) for months now but, despite programming it three times already (with a tentative fourth one slated for next week), they have yet to show it; even so, I do have three more films of his in my unwatched VHS pile (equally culled from late-night Italian TV screenings): the three-hour epic LA CHARTREUSE DE PARME (1948; also starring Gerard Philippe), THE SECOND TWIN (1967) and THE LEGEND OF FRENCHIE KING (1971; with Brigitte Bardot and Claudia Cardinale).

"Once upon a time there was a charming land called France.... People lived happily then. The women were easy and the men indulged in their favorite pastime: war, the only recreation of kings which the people could enjoy." The war in question was the Seven Year's War, and when it was noticed that there were more corpses of soldiers than soldiers, recruiters were sent out to replenish the ranks. And so it was that Fanfan (Gerard Philipe), caught tumbling a farmer's daughter in a pile of hay, escapes marriage by enlisting in the Regiment d'Aquitane...but only by first believing his future as foretold by a gypsy, that he will win fame and fortune in His Majesty's uniform and will marry the King's daughter. Alas, Adeline (Gina Lollobrigida) is not a gypsy but the daughter of the regiment's recruiting sergeant. When Fanfan charges away from the recruits, saber in hand to rescue a carriage under attack, who should be inside but the Marquise du Pompadour and...the King's daughter. He now is convinced he will marry high, despite the extremely low-cut blouses Adeline wears. She, in turn, will soon discover her own love for Fanfan. We're in the middle of an irreverent movie of Fanfan's destiny, the ribald adventures of a sword-fighting scamp and rogue. There are escapes from hangings, swordfights on tile roofs, blundering battles, romantic escapes and more joyous derring do than you can imagine. What Fanfan lacks in polish he makes up for in irreverence and enthusiasm. He's a quick stepping swordsman and a fast-talking lover, but with such naïve belief in his destiny and such an optimistic nature, how can we not like him? Gerard Philipe was an iconic stage and screen actor (who Francois Truffaut disparaged constantly in the pages of Cahiers du Cinema). He did most of his own stunts. He was handsome, athletic, graceful and charismatic. Men admired him and women dreamed about him. He was dead at 36, seven years after Fanfan, of liver cancer. All of France mourned. Gina Lollobrigida as Adeline holds her own. It's not those low-cut blouses that do her acting. She's sharp, passionate, not quite innocent and no one's fool. Fanfan la Tulipe just sings along with endless satiric action, pointed situations and good nature. Not to mention amusing, acerbic dialogue. After Adeline has taken steps to save Fanfan from hanging, she meets the king in his private quarters. "Give me your pretty little hand," he says. "But my heart belongs to Fanfan," says Adeline. "Who asks for your heart?" says the king, "All I ask for is a little pleasure." "I'm a proper girl," says Adeline. Says the king, "You owe my esteem to your merits. You love Fanfan? Then thank me. My whims enable you to show the greatest proof of your love, by betraying for his sake the loyalty you have sworn him." Now this is clever, funny stuff. Jean-Luc Godard, Francois Truffaut and the rest of the New Wave gang tended to detest popular movies as mere entertainment (and they personalized their attacks). Fanfan la Tulipe and its director, Christian-Jacques, were among their prime targets. They probably missed the point of Fanfan, which is a very funny satire on the pointlessness of armies and war. How much better it must have seemed to make movies of angst which only fellow cineastes could appreciate. Thank goodness some of them, Truffaut and Chabrol, for example, outgrew this childish condescension and came to recognize that a good movie is a good movie, whether the masses like it or just the cognoscenti. A smart person who enjoys movies can appreciate any, if the movies are well made. Those who condescend to a movie based on its degree of popularity are as self-demeaning as those who brag they've never read Harry Potter. Jean-Luc Godard, eat your heart out. Viva Fanfan!

"Fanfan la tulipe" is still Gerard Philippe's most popular part and it began the swashbuckler craze which throve in the French cinema in the 1955-1965 years.It made Gina Lollobrigida a star (Lollobrigida and Philippe would team up again in René Clair"s "Belles de nuit" the same year."Fanfan la tulipe" is completely mad,sometimes verging on absurd .Henri Jeanson's witty lines -full of dark irony- were probably influenced by Voltaire and "Candide" .Antimilitarism often comes to the fore:"these draftees radiate joie de vivre -and joie de mourir when necessary (joy of life and joy of death)""It becomes necessary to recruit men when the casualties outnumber the survivors" "You won the battle without the thousands of deaths you had promised me, king Louis XV complains,but no matter ,let's wait for the next time."A voice over comments the story at the beginning and at the end and history is given a rough ride:height of irony,it's a genuine historian who speaks!Christian-Jaque directs the movie with gusto and he knows only one tempo :accelerated.Remake in 2003 with Vincent Perez and Penelope Cruz.I have not seen it but I do not think it had to be made in the first place.

I remember this movie from the 50s when I was in college. It is one of the funniest satires of American Westerns that I have ever seen. I'm only sorry that I have not been able to see it recently and that it is is not out on tape or DVD. It is a real treat.