An riotous French chamber farce, I have already watched LA CAGE AUX FOLLES II (1980, 7/10), now finally come across the original one which would spawn a Hollywood remake THE BIRDCAGE (1996) by Mike Nichols and stars Robin Williams and Nathan Lane reprise the iconic couple Renato and Albin (Tognazzi and Serrault). It had remained No.1 foreign film in USA box-office for years and nominated for 3 Oscars (BEST DIRECTOR, SCREEN PLAY and COSTUME DESIGN). Albeit the film's generic "Meet Your Parents" plot-line, director Molinaro pluckily engineers the sub-culture of homosexuality and transvestite, Renato is the owner of a smoke- enshrouding drag club "La Cage Aux Folles" which is infamous for its alternative performance and target clientèle, and Albin, his partner for twenty-years, is a woman trapped in a man's body and also the premier star of the show. One night Laurent (Rémi Laurent), Renato's 20-year-old son, arrives and announces that he will marry her sweetheart Andréa (Maneri) and her parents is coming for dinner the next day, the trick is that Andréa's parents Simon (Galabru) and Louise (Scarpitta) belong to an ultra-moralistic party who just recently lost their president in a prostitute scandal. Under the grilling, Andréa lies about Renato's real identity and claims him to be a cultural attaché, so to counterbalance the bad image of the party, they decide to operate "a perfect marriage" and meet Laurent's parents. Things turn into a predictable but hysterical stew accordingly, Albin makes a fuss of the exclusion of him in the dinner and Renato has to ask aid from Laurent's birth mother Simone (Maurier), which lights up the jealousy of Albin. But, eventually, the farce will meet its moment of truth. Through and through, all the gags are incredibly conceived (including those with Jesus on the cross), and what's more gratifying the sublime rapport between Tognazzi and Serrault, together they can make the corniest jest scintillate with vigor and induce involuntary laughters without a hitch. It is a grand showboating for Serrault in particular, his mincing mannerism and effeminate verbal-ism has been unrivaled since, a true trailblazer for the now stocky stereotype of feminine gay man. To elevate the contrast in beliefs, Galabru also goes out on a limb to caricature and ends up with a side-splitting cross-dressing for amusement. Not to mention Benny Luke as the sissy black butler, who cannot wear shoes because they are trip-easy. Ennio Morricone's prominent score triumphantly conjures up the upbeat ambiance and tallies with the performance adroitly to indicate the characters' predicament or ridicule. Indeed, the film is a timeless uproar, and its winning magnetism can appreciated ubiquitously.

Like many Americans, I saw the remake "Birdcage" first. Only recently did I get a copy of the original. "La Cage aux Folles" is a great comedy, well deserving of its praise and classic status; I just wish I had seen it before I saw "Birdcage".The reason is (through no fault of the original French filmmakers and actors), the American remake is one of the few films that did a good job of suiting it for American audiences. They got some of the most recognizable and endearing actors, and they really played on the humor of America's brutal division between Conservatives and Liberals. In other words, it hits home."La Cage" carries more of a nostalgic distance, in the fact that it's both European and an older 70s film. Like watching "Casablanca", you can get engrossed in the film, but you never quite picture yourself in context ...especially when you keep thinking of Robin Williams and Nathan Lane who both did an excellent job of staying true to the original characters played by Tognazzi and Serrault.OK, enough irrelevant comparisons. I just wanted to get that out first, in case you're pondering whether to watch "La Cage" or "Birdcage" first. Definitely start with "La Cage"."La Cage aux Folles" is simply fabulous. With a screenplay by Francis Veber, whose pinpoint comedy and wit makes him a modern day Moliere, you can't go wrong. Gags are handled with the perfect finesse, even the corny slapstick ones. The scene where Michel Serrault is learning (very unsuccessfully) how to butter his toast "like a real man" had me howling. I can't imagine how Ugo Tognazzi could keep a straight face.Other memorable gags happen throughout the film, and whether you're French, American or Martian, you've got to understand the universal language of comedy. Serrault's high pitched yelp gets my vote for funniest and most infectious sound uttered by a human since Homer Simpson's "D'OH!" The story itself, while purportedly being about drag queens of loose moral character (haha), is safe, clean and absolutely fun for the whole family. Sexuality aside, it's simply a classic comedy of errors that anyone can enjoy.

This French farce lacks the energy and whimsy of the 1996 Mike Nichols remake, "The Birdcage." Perhaps it's a cultural difference, but the original "La Cage aux Folles" seems to take itself too seriously, and moments that were uproarious in the Nichols version aren't very funny here. I suppose some might say that Americans need their humor to be broader and more obvious in order to appreciate it, but whatever.It's hard to understand now how bold this subject matter -- transvestites, openly gay lifestyles, etc. -- was for 1979, and that probably has played a large role in the life this film has had since (thanks largely also to the hit Broadway musical based on it).I bet people who saw the original first like it better than "The Birdcage," and vice versa.Grade: B

Great classic comedy by Molinaro. The movie was breaking with the rule at the time. Of course, the characters are presented in a stereotyped kind of way, but I think it was appropriate at the time. The farcical set-up helped bringing crowds. And somehow, I'm sure the gay cause moved a step forward with this movie. Some scene are simply hilarious. I can't tell you how I found the toast scene funny! And try to walk like John Wayne! But I would agree that the second half was a lot more funnier than the first. Never the less. Serrault is excellent. But he's not alone: so is Ugo Tognazzi and Michel Galabru. I love that guy, ever since, as a kid, I watched him in the Gendarme series with Louis DeFunès.Excellent musical score by Ennio Morricone. Gotta love it!A comedy to enjoy many, many times.Out of 100, I gave it 82. That's good for *** out of ****.Seen at home, in Toronto, on November 6th, 2004.