The late French filmmaker Yves Robert rarely received his due, but three years before he died of a cerebral hemorrhage in 2002 at the age of 82, he directed his twin art-house triumphs, "La Gloire de mon père"/"My Father's Glory" and "Le Château de ma mère"/"My Mother's Castle" (1990), handsome adaptations of Marcel Pagnol's childhood memoirs. Belatedly, and suddenly, Robert became a critics' darling.
There were other Robert films, however, that I think were greater achievements, despite their self-effacing modesty - particularly "La Guerre des boutons"/"War of the Buttons"(1962), based on Louis Pergaud's much-filmed novel, and "Salut l'artiste" (1973), a light farce which teamed Marcello Mastroianni and Jean Rochefort to perfection as two working actors often trapped in thankless roles.
Arguably, Robert's best film - and certainly my personal favorite - is "Alexandre le bienheureux" (1968), which was known alternately as "A Very Happy Alexander" and simply "Alexander" during its brief U.S. life in 1969.
"Alexandre le bienheureux," which has the sensuous contours of a classic French peasant comedy, is a disarming celebration of laziness and fits in perfectly with the ethos and sensibilities of the late 1960s and early '70s.
I'm not sure the same film could be made today, given how driven everyone seems to be (including slackers). A contributor on IMDb in assessing the film refers to an essay, "Le Droit à la Paresse"/"The Right to Laziness", that Paul Laforgue wrote in 1880 in which Laforgue offered a positive definition for laziness, something that is generally considered as one of the biggest vices in the world. Robert follows the same logic in his little film, which remains timeless in its appeal. It is hugely watchable and, despite its surface goofiness and anarchy, has a forbidden message worth savoring.
That great bear of an actor, Philippe Noiret, who died of cancer in 2006 at age 76, is unaccountably light and fizzy in the title role of a humble farmer who is henpecked and overworked by his ambitious new wife (Françoise Brion), known only (and humorously) as La Grande. She supervises him with a walkie-talkie. Poor Alexander's only friend is a little dog (played by a remarkable pooch named Kaly), of which La Grande, of course, disapproves.
Well, one day a new girl named Agathe (Marlene Jobert) zips into town in a bright red Citroen 2CV, and her entrance collides - fatally - with not only La Grande but also Alexander's decrepit in-laws. Suddenly free, Alexander retires from life, staying in bed 24/7, letting his farm go to pot (much to the chagrin of his neighbors) and letting his little dog do most of the chores. There are few images as charming as little Kaly carrying a basket in its mouth, shopping for cheese, milk and gorceries.
As it turns out, Agathe is as lazy as Alexander. They make a perfect - or imperfect - couple, living slovenly ever after.
"Alexandre le bienheureux" has never been released in this country on home entertainment in any format. I have a beta copy of the film made from a subtitled 16-mm print. It remains vital as long as my reliable old betamax remains operable. About 10 years ago, I had an opportunity to interview David Zucker in regard to his "The Naked Gun: From the Files of Police Squad!" At one point, Zucker mentioned that he was eager to work with John Candy, an actor he thought was being misused in movies. He asked me if I had any ideas. I immediately offered "Alexandre le bienheureux" as a possible American remake. It would have been perfect for Candy.
Zucker vaguely remembered the film and seemed genuinely interested in the idea. And so, with much anxiety, I loaned him my beta copy of it. About two months later, Zucker mailed the tape back with a "thank you" note. The film was never made and Candy, alas, died 1994.
Two final notes about Robert's endearing little film: La musique de Vladimir Cosma est sublime! Formidable! Et la photographie de René Mathelin est fabuleux!
Cinema Obscura is a recurring feature of The Passionate Moviegoer, devoted to those films that have been largely forgotten. Suggestions welcome.
(Artwork: Poster art for Yves Robert's "Alexandre le bienheureux"; Philippe Noiret and Kaly in a scene from the film; Robert directing; Françoise Brion, Noiret, Marlene Jobert and Kaly pose on set, and the dustjacket art for the video release of Robert's "Salut l'artiste")
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Anyone interested in perusing some 2060 of my film reviews, dating back to 1994, can do so by simply going to RottenTomatoes.Com
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