FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

MartinHafer In 1981, Francis Veber directed a smash hit film, "La Chèvre" (THE GOAT). While I will admit that the film at times was awfully silly and a bit dippy, there was something about the film that starred Pierre Richard and Gérard Depardieu that struck a chord with the audience. Their interplay was great and so once again Veber paired the two in a new film where they play different characters, though they act pretty much like they did in the previous film. However, this time, the film, though amiable, lacked much of the magic of the original film. Now I am not saying that this is a bad film--but it just doesn't work nearly as well as "La Chèvre"."Les Compères" begins with a mother and father going to the police to get help in finding their runaway son. However, the police cannot guarantee quick action and the mother decides to use an evil scheme to elicit the help of two old lovers. She meets separately with Richard and Depardieu to tell them that the boy is actually their long-lost son that they didn't know even existed. This exceptionally cruel device works, however, and both set out to find their 'son'. However, they don't know that each is searching for a 17 year-old boy who can't be their son because he's only 15--and was fathered by the lady's husband.Like "La Chèvre", Richard is a bumbler and makes a mess of most everything. Depardieu is tough and a man of action. Together, true to formula, they help each other to grow. They also manage to find the boy AND uncover a mob conspiracy. While the way the teen reacts to them and the mob plot offer a few surprises, the overall film offers none. As I said, it's formulaic all the way and ends pretty much like you'd expect. While none of this is bad, it's also a tad bland and inoffensive--the sort of film that is more of a time-passer than anything else. Fortunately, Francis Veber went on to do many wonderful and more satisfying films. And if "Les Compères" is among the least of his work, then that is a pretty good endorsement for seeing more of his films (such as THE VALET, MY BEST FRIEND and THE CLOSET).By the way, this film's plot is very similar to the Gina Lollabrigida film BUONA SERA MRS. CAMPBELL--a film that is about as good and worth seeing as "Les Compères".

theowinthrop I wish my memories for LES COMPERES was sharper - but I saw it in Manhattan at the Paris movie house in midtown back in 1983, so I have to struggle a little. I do know this - the plot for FATHER'S DAY (which I just reviewed) is different in several ways, weakening the film's construction a little, but giving an outlet to the the two male characters that the French film left in the air.Basically LES COMPERES is about how young Tristan Martin (Stephane Bieron) has an argument with his parents about his girlfriend, and flees with her. The mother Christine (Anny Duparen) goes and finds two previous boy-friends, Jean Lucas (Gerald Depardieu) who is a journalist, and Francis Pignon (Pierre Richard), who is an overly emotional teacher. She tells each that Tristan is their son - not the biological son of her husband Paul (Michel Aumont). And both (seperately) go after the boy - and soon find each other as a friend but rival in the issue of the boy's actual father.LES COMPERES kept the activities of the film's comedy between Depardieu and Richard, and the confused Tristan. This is fine (the script was good and tight here). However, it missed out on some wonderful comic moments that appear in FATHER'S DAY, involving the father of the boy Bob Andrews (Bruce Greenwood). He hears his wife (Nastassje Kinski) on the phone with Billy Crystal about the issue of their son's parentage, and decides to go and find the boy himself. In the process he has a series of disasters involving a porto-potty at a gas station, and a clumsy (if good natured) truck driver (Dennis Burkley), that are very funny. But nothing like that occurred in the French original.One thing that does get overly developed in the American remake (but was more effective, as it was used less frequently, in the French original) was "beaning". In FATHER'S DAY, Crystal demonstrates fairly early his ability to bean opponents on the head to knock them out or disable them. He repeats it several times. But Depardieu does not use it as frequently, and when he turns up at the end to use it against a particularly obnoxious and threatening individual he comes out looking quite effective as we are not expecting it from him.SPOILER COMING UP:At the end of both films, the boy privately tells both of his would-be fathers that each is his biological father, but should not say so to the other one (so as not to upset him). But in FATHER'S DAY, Crystal (a lawyer, not a journalist like Depardieu) confesses to his long suffering wife Julia Louis-Dreyfus that he could tell the boy was lying - he could tell from frequent experience in court. Also, unlike Richard, Williams has a potential romance in his future. As Crystal and Dreyfus decide to go ahead with their plans for a family, the characters in the American version have some kind of hope in their futures. But in the French version, the two would-be daddies end up secretly reassured of their own biological parenting of the boy. The French version is more organically complete as it is, but I do like the hope that is in store for the American counterparts at the end of the American version.

jack_94706 This films rocks and rolls, all with a special French flavor, a soupcon of danger, many droll scenes, yet never quite too wild to be entirely unbelievable. Depardieu cannot be compared with any other actor in the world; his talent and the vast number and variety of roles he's played are astounding. He's been funny in many films; he's more famous for his most dramatic, tragic roles, naturally -- but, for me, this is his most riotous role -- and he's the straight man, essentially. A hard thing to pull off well. I liked "Les Comperes" better than "La Chevre" -- the other, earlier pairing of Richard and Depardieu. Both films are quite funny; both actors are excellent here. This film touched a nerve with me -- as a stepfather. Later, of course, the movie got remade in America with Robin Williams and Billy Crystal -- but the magic wasn't there. The real American partner to the original "Les Comperes" is the Danny Glover and Martin Short film "Pure Luck." It's my own personal theory that "Pure Luck" is a ripoff of "Les Comperes." I mean no ill-will here. The "ripoff" is a fair one; ideas cannot be copyrighted, nor should they be -- good writers "borrow"; great ones steal. Well, "Pure Luck" has the same central chemistry; Glover and Short play off each other in an identical fashion to Richard and Depardieu. Instead of looking for a run-off young teenage boy, we have a daughter missing and a rich, corporate dad concerned -- versus a sexy, wily, strong-willed French mother in "Les Comperes." The daughter in "Pure Luck" is chronologically older, in her twenties, but her mind is, well, let's say calling her "childlike" would be overly charitable. The daughter adds to the magic in "Pure Luck" -- in "Les Comperes" the missing son is mainly that -- missing. But that's exactly as it should be, the two dads are what's it's all about. Both are excellent films. If you know some French or a lot, or if you don't mind subtitles, or if the dubbed version is very well done -- "Les Comperes" will reward you tremendously for your time. It's the better film, the more enduring -- because it remains closer to reality throughout, despite much typically Gallic, but still recognizably universal male zaniness. And it has warmth, even romance -- plus the missing boy keeps a real concern at the center of the film. It's fair to call "Pure Luck" slapstick -- but slapstick at its very best. "Les Comperes" may occasionally approach slapstick, but deserves a higher regard. Its insights are much deeper and its comic-view is more subtle (but only so in comparison to "Pure Luck"). I mean, you can't miss the humor here. See both; let me know what you think. Aren't they uncannily similar? Women will probably enjoy "Les Comperes" more, too, because of the strong role of the French mother, her self-confidence, her power over all the men -- and all so gracefully, elegantly done.

frenchie-16 I loved this movie when I saw it the first time a long time ago, and loved it again recently. Depardieu and Richard really are the Laurel and Hardy of french films, and this movie has a whistled song line that will not leave your head for years. A must see, especially if you saw the remake "Father's Day" which used the greatest comic talents in american film, and still didn't come close to the original.