Three Men and a Cradle (1986)

Wow...this is the first time I ever used the words schmaltz and ennui in a film, but it does fit this familiar movie. I say familiar because it's one of the most universally recognized films--being a huge hit in France as well as the US when Hollywood remade it as "Three Men and a Baby". And, if you've never seen either, they're worth seeing but far from essential viewing. Pleasant fluff is how I'd categorize them."3 Hommes et un Couffin" is a decent story that has a few rough spots. It begins with three swinging guys sharing an apartment. When Jacques is out of the country (he works for the airline), a baby is left on their doorstep with a note saying the baby is Jacques' and the mother is going to America for six months to do a modeling assignment. Obviously this woman is NOT up for the Mother of the Year award! In the interim, his two roommates run themselves ragged caring for the baby and resent Jacques. There are two serious problems, however. First, it may not be Jacques' kid. Second, there is a really dumb and unnecessary subplot involving drug dealers--and it seriously distracts from the film.Eventually, the irresponsible mother returns and by now, the three men have become attached to the baby. She takes it and the men go through a profound sense of loss and depression (hence, the ennui). And, in the end, there is a schmaltzy 'everything will work out fine' ending. Enjoyable? Yes. But the film would have benefited from several changes--dropping the drug subplot, making the mother somewhat likable or at least understandable and getting rid of all the depression near the end. However, who am I to say--the movies made a bazillion bucks!!! Just don't expect magic--just some pleasant viewing.

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.

First, this movie is a beautiful example why there's am more European kind of humour and a more American kind of it. I once read an American critic who honestly complained that all the funny things happening in this movie were so previsible. Wow, he even must have thought that was smart to realize. In fact, that's what this movie is all about: You know what's going to happen and you enjoy to see HOW it will happen. That's why this movie was remade in the US with Tom Selleck and stripped of all it's original charme, only to be found "better" by some people. Second, this movie is kind of a test whether you should become a dad/mum in your life - or better leave that to others. It worked with me ..two kids... If you vote this movie "9" or above, you should get kids. Below "5" ? Think again! ;-)

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.