Better Late Then Never

This story has more twists and turns than a second-rate soap opera.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

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

This early 70s movie is about a white catholic french racist man compelled to live a crazy week-end filled with Arabs and Jews! For sure, the movie plays on the clichés about everyone (even the french!) and it's really funny! As i kept laughing, am i a racist? not at all! i just like to have fun! Those who feel prejudiced by such movie can't understand humor and it's impossible to teach them now! For sure today we will have complains from all the communities in spite the freedom of expression! It's a shame, all the more than all involved in the production said that this movie was like a magical cure and led them to think over their attitudes! So racism is erased by making people ask questions and a movie like this is the perfect tool! In addition, a bit like the Titanic sinking in 1912, the movie was done in 1973 so the last year of economic growth before a lot of crisis and also massive immigration! So you really see what was France and particularly Paris then and it's sure totally different of what it is today!

"Solomon, you're Jewish?" Victor Pivert is so baffled at the very thought that his long-time driver was Jewish all along that he asked this question at least three times with a shocked look of disbelief. Solomon even mentioned that his uncle Jacob, coming from New York is a Rabbi. "But he's not Jewish" hopes Pivert, immediately deceived by Solomon's smiling nod. This brief exchange is one of the most memorable comedic movie scenes of French cinema and I admire Gérard Oury, who directed the film, for his equal talent as a writer. It's funny because no one would make such a big deal about having a Jewish driver and be so damn serious about it, and it's also smart because it sets the tone of our lead character: Louis de Funès as Victor Pivert, a racist, xenophobic and narrow-minded bigot. The scene is even funnier because he was previously attacking all the foreigners through their driving or mocking an interracial couple in a wedding, and even smarter because ten seconds before, the guy was stating that he wasn't racist. Not racist but glad though that his daughter is marrying a white, "very white … even a little bit too pale" in his opinion.Only Louis de Funès could have played a despicable character with such comical appeal. Although we don't share Pivert's views, we feel sorry for his ignorance and only hope that he'll be taught a good lesson. And this lesson is very explicit in the film's synopsis: Pivert becomes the hostage of an Arab revolutionary leader named Mohamed Larbi Slimane (Claude Giraud) and to escape from some other Arab goons, both disguise as rabbis. In a nutshell, you have a Catholic and a Muslim passing for Jews. And beyond this ethnic premise, one of the funniest movies of French cinema: a comedy of slapstick and errors, but not without a subtle and poignant touch of social and political commentary."The Mad Adventures of Rabbi Jacob" marks also the pinnacle of the collaboration between Gérard Oury and Louis de Funès, after three of the greatest French box-office successes, with a de Funès, at the top of his game with his hot-tempered mannerisms and all the expressions that elevate his talent to the level of Chaplin, Keaton and Donald Duck. Take the way he mimics the sound of a woodpecker ('Pivert' in French) when he gives his name, his devilish smiles, his body language, a true comical talent who alas would never be the same after "The Mad Adventures of Rabbi Jacob". Indeed, Louis de Funès suffered a massive heart attack two years after the film, and would never have the same range of physical talent. But let's get back to the laughs."The Mad Avdentures of Rabbi Jacob" starts with a respected Rabbi leaving New York for the first time after 30 years, to celebrate his nephew's bar mitzvah. Rabbi Jacob is played by Marcel Dalio, Gabin's companion in "Grand Illusion", the croupier in "Casablanca", an underrated figure of French cinema, miserably exploited by the Nazi occupation to denounce the Jewish control on filmmaking. Rabbi Jacob is Dalio's last memorable role and what a fitting way to share it with another veteran actor. And involuntarily, it's Rabbi Jacob and his assistant who contribute to the misunderstanding, because they share the same physical features than Pivert and Slimane, so when the lead pair is seen at the airport by an old Jewish grandmother who can barely see, Pivert becomes Rabbi Jacob, and Slimane Rabbi Zeligman.The film is a spell-binding rodeo of gags, involving Pivert, Slimane, three Arab agents, three French cops, the Schmoll Family, Pivert's wife, from a chewing-gum factory to a dentist's room, from a synagogue to a Jewish quarter street, with an interesting running-gag involving Slimane's fondness on red-headed women. The film also features a series of unforgettable lines and moments now deeply rooted in French Pop-Culture. "Silence, Rabbi Jacob, he will dance!" shouts the grandmother with her strong Yiddish accent, and then starts the most emblematic moment of the film when Rabbi Jacob performs the Hassidic group dance. If you haven't seen the film yet, just watch this part on Youtube: a real classic of French cinema.The film is punctuated with more serious moments, particularly relevant in the context of the film (released right before the Kippur War) and even today, when both Pivert and Slimane bless the Jewish boy, and the powerful handshake between Sliman and Salomon, after Pivert genuinely asked them "Sliman, Salomon … are you guys cousins?" Like the greatest comedies, the film knows how to loosen up, and it was a nice touch for Gérard Oury to think of such moments. "The Mad Adventures of Rabbi Jacob" is also the proof that we can mock any race or religion, through caricature and stereotypes, without being labeled as racist or Anti-semitic. Oury, from a Jewish background, can hardly be accused of Anti-Semitism of course, but through his film, he proves that one of the most essential elements of Jewish humor is self-derision.The film features also one of the most memorable scores of French cinema from the Master Vladimir Cosma, the sight of New York with his catchy Yiddish-like tone is the film's most unforgettable signature, enriched with a more melancholic melody at the end. Speaking of the ending, it's a bit chaotic in the way it sweeps off many of the subplots with some deus ex machina resolutions or cringe-worthy dated humor, but it doesn't really affect the film, not after so many great laughs anyway. Now, I've always been perplexed by Slimane's statement : "When we ask a Jew question, he always replies by another question" I asked one of my Jewish friends about that, and his reply was : "What makes you think so?"

In "The Mad Adventures of Rabbi Jacob", Louis De Funes can apply all his talents: Not only his notorious fast-talking that makes him even for native French speakers hard to understand, the sudden break-outs of his temper, his enormous capability for slapstick which included for him playing whole scenes without a double, but also his wonderful pantomimic talents. In this film, his name in "Pivert" (which sounds a bit like "pervert"), this is the bird pee-wit, and whenever Victor Pivert is asked about his name, he feels urged to imitate the bird in a pantomimic manner, whereby his acting gets every time more insane. De Funes played his movies with such an intensity that he suffered several heart attacks before his last one killed him in 1983. One of his sons, a heart-surgeon, should be constantly on the set. Did the Funes really play? French people say that the three greatest French comedians of all times were (in alphabetic order) Bourvil, Fernandel and Louis De Funes. In the films of Bourvil and Fernandel you can laugh with a warm and happy heart, but in the films of Louis De Funes you cry out with insane laughter. He was too short time of earth, but was in over 100 movies and in approximately 50 in the main role. And now look: In the USA there are exactly 2 of his movies available: "The Mad Adventures of Rabbi Jacob" and "Delusions of Grandeur", both directed by the French comedy giant Gérard Oury. A third movie, again by Oury, you can buy from a New York video place for approximately 50 dollars on VHS: "La Grande Vadrouille" - by many considered one of the best French movies ever. And that's it. Only from the 6 "Le Gendarme De St-Tropez" movies which made De Funes internationally known, not one is on a DVD that would play on an average American player. For "The Gendarme in New York" you must pay fantasy prices for the only VHS recording that is long out of print. It is beyond human understanding that De Funes works are not available outside of France.

One of the best movie featuring Louis DeFunès. He's such a good actor, funny to the extreme, and all natural! In this one, he plays Pivert, a French industrialist who's all surprise to learn that his assistant, Salomon, is Jewish! From there, the fun starts and keeps going right up to the final large scale "dénouement". I've seen this movie maybe a half-dozen times, but never got tired of it. Another great comedy by Gérard Oury.Out of 100, I gave it 81. That's good for *** out **** stars.Seen at the Toronto Jewish Film Festival, at the Bloor Cinema, on April 24th, 2002.