Until this film was released to great acclaim, Claude Zidi was generally regarded as a director of 'Saturday Evening Cinema' for the consumption of a national audience but 'Les Ripoux' received a distribution in the United States, having acquired a typically anodyne title of 'My New Partner'. As luck would have it there was to be no Hollywood remake whilst that dubious distinction was later accorded Zidi's 'La Totale' which became 'True Lies'.
Zidi has achieved a perfect balance here between comedy and thriller whilst spoofing the Policier genre as well lifting the veil of institutionalised police corruption of which the French public of the time would have been all too aware. The fact that the idea for the film was suggested to Zidi by former cop Simon Michael adds further veritas. It was hoped that the ubiquitous Michel Audiard would provide additional dialogue but he was engaged elsewhere although Zidi's regular contributor Didier Kaminka has turned up trumps. The pacing of the film is superb and it is little wonder that editor Nicole Saunier was awarded one of the film's three Césars. Authenticity is aided by scenes shot in the traditionally working class 18th Arrondissement of Paris and Francis Lai's idiomatic score is an absolute delight. Comedy is often unfairly dismissed as a poor relation to Tragedy, so for this to gain a César for best film is, in itself, something of a milestone.
The morally vacuous René Boisrond is essentially the product of a corrupt system and who better to play this loveable rogue than the superlative Philippe Noiret who not only engages our affections but is able to exhibit his comedic ability. There is little doubt that his presence in this proved an inspiration to the scriptwriters. He has a perfect foil in Thierry Lhermitte as new recruit Francois whose high-mindedness and moral superiority do not last long once René has introduced him to fine wine and horse racing, not to mention a lovely little number named Natasha whose pimp is none too pleased! Lhermitte of course, with his photogenic looks and inherent quirkiness has deservedly become one of his country's most popular actors and is still working.
The film was a massive box office hit and spawned not one but two sequels, the last of which is the most implausible and in which Noiret and Lhermitte are twenty years older. As sequels go they are still pretty good but it is well nigh impossible to replicate the charm, spirit, immediacy and sheer novelty of the original.
Zidi has achieved a perfect balance here between comedy and thriller whilst spoofing the Policier genre as well lifting the veil of institutionalised police corruption of which the French public of the time would have been all too aware. The fact that the idea for the film was suggested to Zidi by former cop Simon Michael adds further veritas. It was hoped that the ubiquitous Michel Audiard would provide additional dialogue but he was engaged elsewhere although Zidi's regular contributor Didier Kaminka has turned up trumps. The pacing of the film is superb and it is little wonder that editor Nicole Saunier was awarded one of the film's three Césars. Authenticity is aided by scenes shot in the traditionally working class 18th Arrondissement of Paris and Francis Lai's idiomatic score is an absolute delight. Comedy is often unfairly dismissed as a poor relation to Tragedy, so for this to gain a César for best film is, in itself, something of a milestone.
The morally vacuous René Boisrond is essentially the product of a corrupt system and who better to play this loveable rogue than the superlative Philippe Noiret who not only engages our affections but is able to exhibit his comedic ability. There is little doubt that his presence in this proved an inspiration to the scriptwriters. He has a perfect foil in Thierry Lhermitte as new recruit Francois whose high-mindedness and moral superiority do not last long once René has introduced him to fine wine and horse racing, not to mention a lovely little number named Natasha whose pimp is none too pleased! Lhermitte of course, with his photogenic looks and inherent quirkiness has deservedly become one of his country's most popular actors and is still working.
The film was a massive box office hit and spawned not one but two sequels, the last of which is the most implausible and in which Noiret and Lhermitte are twenty years older. As sequels go they are still pretty good but it is well nigh impossible to replicate the charm, spirit, immediacy and sheer novelty of the original.