It's all in the title and it was enough to lure French views into the certitude of a heart-warming 'coming-to-realization' story and contribute to one of the hugest national box-office successes. Did the film stand the test of time for all that? In my opinion, Coline Serreau took a wonderful comedic premise for granted and indulged to some embarrassingly predictable situations.First, the men's so-called evolution that should be the reason-to-be of the story is non-existent, storytelling-wise. The film is a series of situations happening less because it's real, but because it's required by Serreau's script. I know "3 Men and a Cradle" belongs to the "Classics of French Comedy" category and features a great ensemble cast, even the little girl steals the show, but overall, the film has the appeal of a charming sitcom episode with the same level of superficiality.First, the film insists so much about our three men being hardcore bachelors and successful womanizers that we already expect the baby to change their attitudes toward women for the better. Although little Marie doesn't speak quite exactly in favor of the mother who abandoned, no matter how 'struggling' she was. Anyway, as soon as she makes her entrance, it's a revolution in diapers knocking on the doors, and we expect an avalanche of laughs never deprived from a tender side.We get them, but how heavily caricatured they are! The look on Pierre's face (Roland Giraud) when the pharmacist educates him about milk and diapers is naturally supposed to highlight the fact that he's in a totally unfamiliar territory. Michel (Boujenah) getting hysterical because the baby cries is supposed to create the 'HA HA' effect. Then they naturally vent their anger on each other "don't talk to me with that tone" etc. etc. It's noisy, whiny, hence funny.Before Jacques' come-back, (he's the steward played by André Dussolier) the film digs into heroin subplot, I guess heroin was more 'relevant' than 'hashish' for the story. And we're supposed to accept that the reasonable Pierre, and the sensitive Michel, would give the cradle to two punks, believed that was the pack Jacques told them about. "Yeah, men can be stupid." believes Coline Serreau. Then, the Narcs come, Michel hides the heroin, knowing the cops would be stupid enough not to checks in the diapers.Then Jacques comes back, and instead of speaking, Pierre and Michel remain mysteriously silent, and it's only after three desperately long minutes that they finally tell him. I hated that scene because it was too staged, too 'marketed' at the expenses of believability. That was the kind of gag a sitcom could have afforded, not that kind of realistic comedy. When Jacques was getting hysterical, the only thing that was missing to complete the picture was a laugh track.Then, they organize themselves and the film works reasonably before getting back to hackneyed situations. When one of Jacques' one-night hits realizes there's a baby in the house, she didn't get her fun then she leaves. Since Serreau believes that men don't care for babies, it's only fair that she'd believe not every woman would look at one, or at least, ask how come there's one in three bachelor's house. After all, even the mother left the baby without the decency to ring the bell, or wait for the door to be opened.Naturally, all the bachelors invited to a party don't care for Marie, not even one of the female guests, and someone says exactly the things that will trigger a defensive reaction from Pierre (who, in fact, thought like him). Unsurprisingly, Pierre shouts, the guest leave, we get it, Marie conquered the three guy's hearts. But then again, the mother comes back, they're happy to give Marie's back, all is forgotten; they all party and make up in the bedroom for the lost time (even Michel).And guess what happens next, they miss the girl, and don't care anymore for the rest. Everything in this film can be seen coming from a mile. Take the moment where Pierre finds out that Jacques left with Marie, he's obviously upset, but keeps in denial. We know he misses the girl, so why such a poor comical device by making him pretend that he doesn't care? When it can go for truly heart-warming moments, the screenplay opts for cheap laughs.I still liked the ending, having Marie coming back, and the three men genuinely happy like little children, what a cute sight!. But that cuteness hides a more 'paternalistic' attitude toward men, from the perspective of Coline Serrau, who exploit the same one-dimensionality following the plot's requirements. either, they're the bachelor-who-don't-care or the three-little-daddies, but the evolution process is never clear.It's all in situations, when they don't shout at each other because of the baby, they shot at other people (friends, the nurse ...) because of the baby. "3 Men and a Craddle" is probably one of the noisiest comedies ever, and not because of the cries. And in the middle of this cacophony, the film provides some tender and poignant scenes, but it's precisely because they're good that we hardly believe the rest.How could Michel who loved little Marie even more than her father, be so jovial immediately after she left? Why should they go through the same stages in the same time? Michel could have been sad from the beginning. The three actors do a fine job showing that every man can finds a good spot in his heart to fill it with love. That's the film's premise, it is good, the ending is predictable but good too, yet in-between, some situations don't seem to think much of our intelligence.There were so many great French comedies in the 80's, but, I wonder why this one should receive the 'masterpiece' badge. I can believe the American remake is not as good, but I'm looking forward to watch John Ford's "3 Godfathers".

I saw this French version with English subtitles. It's so hilarious from the start to end. When three bachelors get a baby girl, first they hesitate about how to live with the baby. Then they start loving her.There is a subplot of smuggling thrown into it. Nevertheless, the movie falls into a comedy genre.Well, what can i say, it has to be seen to feel the essence of the movie. Even though, it's in french, i could understand the 99 percent of the movie.The highlight of the movie is the baby. Her little expressions and movements are the central point of the movie. She makes you feel that absolute innocence. That is where the film succeeds.

Shortly after its initial release this became - in terms of viewing figures - the most popular French film after Le Grande Vadrouille and it's not too difficult to see why. There's something for everyone to write his or her 2,500 words about in this story of three male chauvinists getting in touch with not so much their feminist side as their maternal instincts and, for good measure, a sub-plot involving drugs which disappears without trace halfway through. Serreau is clearly interested in exploring role reversal and turning the traditional role-playing tables so that by the end of the film the three male chauvinists have learned not only to care about and/or love baby Marie but are light years ahead of the natural mother in terms of how to care for her in a literal sense. The three principals, Roland Giraud (Pierre), Michel Boujenah (Michel) and Andre Dussollier (Jacques, the natural father of Marie) were all relatively unknown at the time - Dussollier was almost unrecognizable to boot - and though all three have worked steadily since only Dussollier has achieved recognition outside France, and this probably worked in the film's favour just as conversely the higher profile of the Hollywood actors in the inevitable remake worked against what was a lousy film anyway. As usual the best of the dialogue loses in translation but sufficient original flavour survives to make this a highly enjoyable romp.

I was in my first wedding anniversary when we decided to watch this movie and remember our honeymoon in Paris. The french atmosphere is perfect, and the actors very good. The way of acting is different from the american way.The movie is almost happened in the interior of an apartment. Very intimate. The same directrix was invited to direct the american remake. It wasn't the same as the original.