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Mieux vaut être riche et bien portant que fauché et mal foutu (1980)
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Overview
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View company contact information for Mieux vaut être riche et bien portant que fauché et mal foutu on IMDbPro.Release Date:
29 October 1980 (France) morePlot Keywords:
User Comments:
Simply awful moreCast
(Credited cast)| Sylvain Chamarande | ... | Cri-Cri (as Sylvain Green) | |
| Victoria Abril | ... | Mercedes | |
| Claus Obalski | ... | Rudy | |
| Ingeborg Steinbach | ... | Carole (as Inge Steinbach) | |
| Gérard Croce | ... | Maître Lanzac | |
| Michel Vocoret | ... | Henri Bouvier | |
| Alexandra Delli Colli | ... | Corinne | |
| Daniel Derval | ... | Julien | |
| Eric Legrand | ... | Norbert | |
| Olivia Dutron | |||
| Jean Vinci |
Additional Details
Also Known As:
Más vale pájaro en mano (Spain)Wer spritzt denn da am Mittelmeer? (West Germany)
Who Is That Splashing in the Mediterranean?
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Parents Guide:
Add content advisory for parentsRuntime:
90 minLanguage:
FrenchColor:
Color (Eastmancolor)Aspect Ratio:
1.66 : 1 moreCertification:
West Germany:12 (nf)FAQ
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This film is hailed by fans and critics as the "best" in French director Max Pécas' career. Be that as it may, it is still shockingly far from even the lowest cinematographic standards - those of the later episodes in the POLICE ACADEMY series, for instance.
It should be noted that the film does not contain the regular quota of Pécas nudity which may come as something of disappointment for some people; however the usual revolting display of vulgarity, misogyny, homophobia and sheer visual ugliness is indeed present and even flamboyant.
Quite unusual in the Pécas tradition, the exotic setting of Tunisia for the second half of the movie does not provide enlightening insights into local culture or even pretty landscape shots, which does not really come as a surprise. The whole thing is simply pointless, actors are astonishingly bad throughout (even young Victoria Abril's efforts amount to nil), and there is not a single joke which is even remotely funny. Words fail to convey the full extent of this film's abysmal nullity.