A Pain in the A...

Veber's situational comedy usually relies on the contrast of mismatched pairs, and A Pain in the A... does not deviate from this definition. It is precisely the foundation of this film that allows its humor to work so well, that Veber returned to it in his old age and filmed a remake of the film for which he once wrote the screenplay. Before him, Americans also used the same material and commissioned the famous Wilder to improve the studio's budget and get the most out of the meeting between a cold-blooded killer tasked with a key mission in his career and an ambitious troublemaker. It is customary to praise the original version and criticize - as film fans say - unnecessary remakes. However, I will not do this in the case of A Pain in the A...; over time, I have seen all three versions and do not consider any of them to be artistic failures. Not even A Pain in the Ass, although film critics and fans ritually shot it down. Each version has its strengths and weaknesses. The combination of the best elements from all three films would result in a great action movie. Lino Ventura's presence is amazing in A Pain in the A... He was not a comedic actor, but the role of a cold-blooded killer suits him perfectly. He does not overact, and you simply believe in his character. The desperation in his eyes looks authentic and creates even more amusement. On the other hand, there is Jacques Brel. I do like him as a chansonnier - although he is essentially trying to play a comic character seriously, it comes off as rather annoying here. I have a fixation on Pignon as a likable character, but in Brel's performance, he represents such a bothersome individual that I would gladly punch him. Overall impression: 80%. (04/10/2015)

Even a hit man has only one set of nerves. And if someone like a depressed shirt merchant is constantly tearing at them, it's a recipe for trouble, and in this case, fortunately, also for great comedy. Lino Ventura is tremendous - he can make you laugh with one look, and if Jacques Brel got on my nerves during the film, I took that as an intention of Francis Veber, not a minus. But I don't deny that the film is probably enhanced by the excellent Czechoslovak dubbing with Martin Růžek and Eduard Cupák. (08/16/2014)