Fan-Fan the Tulip

Jacque's satiric comic take on swashbucklers extends to war in general and particularly to the men who lead their armies.

Cahiers-savvy cinephiles will recognize Fanfan as the type of handsome prestige production that the French New Wave overthrew in the early '60s, but this example of the "cinéma de qualité" is hardly a musty artifact, with its compact editing, its breezy and mischievous tone, and, in a country not yet a decade removed from the Nazi occupation, its acrid anti-militarism, clear from the ash-dry narration of the opening battle sequences onward.

A rousing, good humored costumer on ribald 18th-century France. (Review of Original Release)

With Philipe apparently doing a lot of his own stunts, Fanfan is replete with heroic leaps, speedy horse rides, occasional explosions and clashing sabers. If this all sounds like a 1950s version of "Pirates of the Caribbean," that may not be such a bad comparison.

There's nothing profound going on here, and this pristine example of cinéma de qualité must later have driven ardent French New Wavers round the bend. But as a breezy populist comedy, more farce than satire, it remains infectious, and the case made for love and sex over tyranny and death takes us back to an age when romantic leads were less self-serious and more willing to double up as buffoons.

What played as glorious period tomfoolery to European festival juries and discerning U S audiences in the early 1950s now just seems quaintly pleased with itself.

The hectic, sprawling Fanfan la Tulipe eventually feels like too much -- too many goofy asides, too much Comédie Française hambone acting, too much gallantry and villainy, too much forced good cheer.