User reviews

"Breast or Leg?" opens the last chapter of Louis de Funès' career before his death in 1983. Following the decline of his health, caused by a stroke in 1975, he looked older and thinner than usual, much different from his last energetic and spectacular performance in "The Mad Adventures of Rabbi Jacob". Indeed, he would never have to act 'mad' whether in the crazy or angry sense of the word.

Actually, this was less a medical clause than the actor's personal desire: mortality rhymed with maturity. Yet, from the public's perspective, he was still known for his hilarious tantrums à la Donald Duck, his grimaces, and his unique way to play sneaky individuals, authoritarian with the weak, and submissive with the strong, De Funès created a character most French people could identify with: the average bourgeois little chief. And in France, people went to see a De Funès movie not a film with De Funès. In 1976, they had waited for 3 years, the longest time the box-office champ ever deserted the screen.

I insist on this, because this is one of the cases where you can't judge the film out of its context: De Funès' health called for a more restrained acting and because his absence left some room for newcomers, Claude Zidi the director wanted Pierre Richard, the rising (goofy) face of French Comedy to play De Funès' son. Richard declined the script, unconvinced, so the role went to Coluche, another comedic legend who could at least provide the physical energy usually expected from De Funès. As a matter of fact, it was still hard to steal the veteran's thunder and De Funès didn't play a static role either. Still, the script was in all nuance and soberness, which was in line with the character of Charles Duchemin, food critic and editor of a famous touristic guide, obviously a fictionalization of the 'Michelin'.

This isn't the first time De Funès plays a figure in the world of cooking: he was 10 years earlier the head of "The Great Restaurant" and he was the perfect ambassador of French gastronomy. Here he strikes again as a judge who give restaurants stars that can multiply their benefits by three or ten, either remove them, or worse, give a disastrous critic, causing their bankruptcy. The movie is very attentive to show all the aspects of Duchemin's job, from the office work to the way he takes wine and sauces with syringes and put them in little containers hidden in his suits, and 'accidental' entrances in the kitchens. De Funès can put on his most popular trademarks, disguises: from an old woman to an American tourist etc. And these parts go from appetizing to heart-wrenching moments, swinging between the best and the worst that can ever land in your plate.

It is also a nice touch to have his chauffeur (played by veteran actor Henri Buissières) sitting at the same table during some of these culinary escapades, they're like people who've known each other for a long time. There is also Marcel Dalio ("Rabbi Jacob") as the tailor and Claude Gensac, who played many times De Funès' wife and she makes a touching cameo as his secretary Marguerite. Actually, the film is filled of true and endearing movie characters, on the top of them: Coluche as Gérard, the son, a circus performer who'd better wear his clowns suit than daddy's new Academician uniform. We have here a sweet father-and-son subplot as Gérard doesn't want to hurt his father's feelings and needs his money anyway to make the circus work. And talk about bad luck, just when he finds the guts to tell his father he wants to quit, a new Dutch secretary comes to join them. Her name is Marguerite, like the former, except that she's blonde and younger and very cute, Gérard stays. We know his constant round-trips between the circus and the restaurants won't last and the obligatory confrontation is tackled with humor and a kind of resigned silent anger, a real departure from De Funès' usual antics.

But all the nice touches wouldn't have worked if the film didn't have an antagonist of the same magnitude as Duchemin. And this is the element that sealed the film's ticket to posterity: everyone remembers the name 'Tricatel', the symbol of French industrial food, the nemesis of healthy, traditional, hand-made cooking, an opportunistic CEO, inspired by Jacques Borel, the inventor of 'road-restaurants' along the highways, and who obtained tax decreases for food products. Tricatel built his fortune on highways too, then bought declining restaurant and provided them food from his factories, and one of the most memorable sequences is the discovery of the scientific (but not very orthodox) mechanisms of food-making (calling it cooking would be a blasphemy).

Character actor Julien Guiomar, plays the role of a lifetime, forever remembered as the 'Tricatel' guy, a name that has even supplanted Borel as a synonym of bad food in French pop-culture. And while Guiomar and Coluche can get energetic and physical, in between, De Funès has the crusader's quiet strength and still manages to be funny in his usual register. And the final confrontation in Phillippe Bouvard's show delivers a remarkable showcase of acting and one of De Funès' finest moment when he's guessing the name of a wine.

"Breast or Leg?" is a pivotal movie in De Funès' career and ever since I saw it at the age of 9, I never forgot the whole "Duchemin vs. Tricatel" antagonism and that hilarious clown sequence with Coluche, so typical of De Funès' movies to be appealing for kid and adults, or the adults they become. Also a honorable mention to Vladimir Cosma who signed one of his most memorable scores, starting with the pompous solemnity of French gastronomy and then a light-hearted kitschy tune, as if it was illustrating the real exhilaration of cooking, it's more about fun than stars... which can actually be said about the film.

As several other readers pointed out, "L'aile ou la cuisse" is probably an integer part of German television culture. At least for those of us who spent a lot of time glued to the screen, as I did as a child... This movie is a very funny satire on modern life and De Funes and Coluche are just great to watch performing. Above all, there's the wonderful 70ies music score of Vladimir Cosma that plunges you right back into those grand days of French comedy. Probably one of the best ones De Funes ever made. Unfortunately, it was also one of his last ones. Another interesting fact is that Pierre Richard was first to play the role of Gerard, the son of Duchemin. He was occupied by another production at that time, so Coluche came in.

Saw this in an un-subtitled version 8/6/15. Monsieur DeFunes is in fine form as a champion of traditional French gastronomy farcically at war with "industrial" cuisine. The pairing with Coluche works better than a bottle of Bordeaux alongside a plate of bifteck frites. DeFunes' Donald Duck persona complements Coluche's sad clown, the son of DeFunes' character secretly pursuing a career in greasepaint under le big top. The whole thing must have worked for me because I laughed. Here is a very entertaining movie. After having seen several DeFunes movies, I find myself asking once again, why didn't this talent catch on in America, other than very modestly for his work in "Rabbi Jacob"? (1973) The guy was funny. Coluche was not going for the big laughs in the movie here, instead playing in convincing fashion a sympathetic character, as the script intended. I want to see more of his movies, too. We Americans may not appreciate his humor the way the Europeans did, but this film clearly displays his ability as an actor in possession of considerable emotional depth.

I first saw "L'aile ou la cuisse" as a little kid, with my nose glued to the screen, and when I saw it again as a grown man, my children and grandchildren gathered around my feet, stroking my white beard and smoking a pipe, it was amazing how many of the jokes I could still remember verbatim. To me Louis de Funès is one of the greatest comedic actors, and I could sit for hours just watching a loop of him when he goes "Ooh!", his content "petit bonhomme" face exploding in a brief moment of heartfelt, yet premeditated rage; unfortunately he often squandered his talent in formulaic money makers such as the "Gendarme of St. Tropez" series (not that I wouldn't love those either, but they are more "good for a few laughs" than "must - see classic"). In "L'Aile ou la cuisse", finally, Funès talent is matched with a decent director and story line, allowing him to remain true to his schtick while gaining depth (not a lot, but just enough).

"L'aile ou la cuisse" is this type of film: if one day I should watch it and not find it funny anymore, then I know that it's time for me to leave this earth. Thank you Louis!

This is almost the last movie of this giant french actor who can squeeze my heart as no one else. His big heart, his class, his musical beat and his funniness shine as never and he is blessed to give the torch to a spiritual son, Coluche. I don't find any other movie where two generations are together on screen: Funes was the best in France in 60-70 and Coluche followed him for 70-80. Sadly, Coluche died young and 30 years later, no one takes the seat. Thus, this reunion is exceptional and the movie is as funny as prophetic: Funes is the old wealthy world, Coluche is the common people and the great villain, Ticastel, is the new industrial leader. Those who loved France will be happy because you can see Paris and the country when it was still developing. The offices and factories are brand new. And for sure, the main subject is about a french emblem, the food. It's true now that we cook some industrial food and that the fight fast-food / restaurant is heavy. The movie is totally right when it depicts french waiter as unpleasant. In conclusion, have a taste of this fantastic french flavor!

I watched plenty of Louis De Funes movies when I was in medium scool-university years. Of course in movie theaters - and that was time when there was no Hollywood, USA movie domination. Plus tickets were cheap. This one saw for the first time yesterday, and can say that is less known, popular one. Actually interest came because of my later food problems (most likely poisoning), and someone said that this movie is about food industry. Yeah, it is in big part.

Well, whole humor part did not work for me so well. Some jokes/situations seemed forced, and direction did not help. In some cases it was really funny (for my taste, I guess) .

All in all, finally, some 15 minutes before end reached that industry part. Sadly, it was to fictional, overdone.

OK, what changed in some 47 since movie was made ? I would say - nothing relevant. There are new technologies, GMO and computers, new ways of advertisement and manipulations. The worst part is still same: there is people, forces, clicques which can do whatever want, without being charged, punished, and worst: stopped to continue with. Yes, nothing from true democracy, equality of people in front of law, or just in ability to leave healthy.

I will be not surprised if it appears that average life time of humans getting lower now.

An excellent comedy which deals with the theme of traditional cuisine versus industrial cuisine. Traditional is personified by the Guide Duchemin (skit on Guide Michelin ) and industrial cuisine by Tricatel ( which I must assume is a skit on Jacques BOREL ) whose awesome director was played by Julien Guiomar. Louis de Funès plays the Michelin man who in secret and under various disguises tests out restaurants who in spite of this recognise who it is. Duchemin ( DE FUNES ) has a son (played by the late great French comedian Michel Colucci or "Coluche" who gives the impression of carrying on in the same line as his father but in reality is more interested in circus-clowning ! All actors give magnificent performances and the plot is brilliant. A most enjoyable moment to be spent, and now it's available on DVD in France at rock-bottom price !

If it takes me to explain to you that the French take their cuisine very seriously, you probably have just arrived on this planet and seek somebody to take you to our leader. Sure, cheese that reek like dead mans feet, stuffed duck or escargot (that's snails, in case you live in the States) are not everybody's cup of tea. But taste is debatable. Quality is not and for things concerning (culinary) quality, you need not look further than La Belle France. It doesn't come as a huge surprise hence that many French films concern themselves with the kitchen and even less of a surprise that master-comedian (and passionate chef in his own rights) Louis de Funes would eventually take the topic on.

Publicist Charles Duchemin (de Funes) is the bane of all French restaurants: His food-guide bestows the much coveted Duchemin-Stars upon the restaurants (or takes them away if warranted – which is more often the case than not). Having some of the keenest taste-buds in all of France, Duchemin takes it upon himself to "test" the individual restaurants, usually disguised as a harmless (looking) old lady or an American tourist. But Duchemin has a nemesis of his own: scheming Jacques Tricatel (deliciously slimy Julien Guiomar), industrial food-producer that delivers virtually artificial food to chains and roadside Inns. Being challenged to a TV-interview by Tricatel, Duchemin (after having almost been 'poisoned' by eating some of Tricatels produces) has lost his sense of taste, yet must save French cuisine somehow.

It is my firm opinion that de Funes later films were also his best. This goes for "The Mad Adventures of Rabbi Jacob", his second-to-last feature "The Cabbage Soup" as well as "L'aile ou la cuisine", filmed shortly after de Funes had recovered from a massive heart-attack. Perhaps it was his failing health and age that made the comedian (slightly) move away from his hyper-paced screen-persona to a more subtle humour (despite all the typical trademarks still being present, albeit tuned down). In the past, de Funes sidekicks had a hard time not being paled out by de Funes performance, but in his later years you could tell, that the comedian timed his humour so as to give the other cast-member some breathing space. In this case comedian Coluche, playing de Funes son and reluctant partner-in-crime, who would rather be a circus-clown than a connoisseur. Like de Funes, Coluche has mastered the art of physical slapstick without turning the gags into an infantile farce. The scene, where he inherently mimics a waiter with a nervous disorder, is pure slapstick gold, turning it almost into an art-form.

Apart from being one of de Funes last few films, it does have a rather depressing prophecy. If you have travelled through France and Belgium, the hearts of European cuisine in recent days, you will have noticed the abundance of fast-food-joints in the cities and highway-stops. You may even have tried the grub there (I refuse to call it food) and, if you have seen the film, you may have looked around, looking whether you'd spot the "Tricatel"-logo anywhere, perhaps printed on the thigh of a chicken – if indeed chicken it was that they were serving.

Still, the film remains a delight and a clean 8/10

This movie, though shot a while back and its two stars (De Funes and Coluche) are gone up there, is still actual.

A renowned French restaurant reviewer, Duchemin, is about to quit and leave it to his rather bohemian son, who prefers doing a clown in a circus rather than follows his dad's footsteps. A food promoter, Tricatel, wants to nail him by providing his bad "fast food" through regional French restaurants, by challenging him in a TV show. Wanting to prove his food is no good, Duchemin decides to take his son on a restaurant tour across France, but Tricatel gets hold of the scheme. It's up to them to get into Tricatel's food processing plant to prove that he serves vile food to french restaurateurs.

This type of movie makes us think of what can be served in restaurants might not be as good as it pretends. However, lots of funny moments, and Coluche love interest, Marguerite, is not bad to see either in this movie.

A must-see if you think twice before eating in a restaurant...

To gather De Funes and Coluche in the same movie is a feat that should have deserved a way better scenario and create a classic at the height of "La grande vadrouille".

Just a word of "advice" at the beginning: Don't watch this film while you're eating. Maybe you wouldn't want to keep your food after the second half of the film!

This film I've seen for the first time as a child. You love Louis de Funès when you're child. He is the best clown you can get. Then you grow older and you think: ah, silly. Then you grow even older and suddenly you see the film again (it's out just now on DVD to celebrate the master's "90th birthday" in the next week) and laugh tears. Yes, the film is silly like so many French comedies, fast, hectic and silly. But still the idea for the script is brilliant and the "message" works today as it did in the 70s.

The most funny thing about the film for a German, though, is the fact that they dubbed more lines than are actually said in the French original. I just realized this with the new DVD. For the first time ever I heard Funès in French and with the subtitles on I wondered after a while why so often there were subtitles but no dialogue. They actually tried to make it even funnier in the German dubbed version with more dialogue when you can't see the lips or when the lips are moved but nothing is said. It came as quite a shock to me. We have weird ways of treating film in this country...

Anyway, this is probably the best film Funès ever did and if you want to see only one of his films, then let it be this one. You won't be disappointed.

After having landed a world-success with Gerard Oury's "The mad adventures of Rabbi Jacob" (1975), Louis De Funes suffered his first severe heart attack. Nevertheless, only one year later, he starred in an other great success: "The Wing or the Thigh" (1976). However, while Rabbi Jacob became world-famous and is since long available as one the deplorably very few De Funes movies on DVD, "L'Aile Ou La Cuisse" never reached the stardom of his predecessor. About the reasons one can only speculate. So, De Funes suggested to put Coluche's name on the advertisements posters, Coluche who plays De Funes' son and was one of the greatest French stars of comedy, circus, TV and politics - but unknown to a greater audience outside of France. Moreover, the topic of this movie is the beginning of "Convenience Food" (so the official term) in France in the mindst-70ies. In the US, however, frozen food in the form of "TV dinners" and other convenient forms of thawing or reheating pasteurized meals had already a long tradition at that time. Obviously, the producers were afraid that "L'Aile Ou La Cuisse" would not be understood outside of Europe. But nevertheless, Louis De Funes, although pale-looking and quieter than in his earlier works, can show all registers of his gigantic comic talent in this movie. In Coluche, he has a quite non-fitting partner, but one who was wise enough not to upstage De Funes, but to persuade with his soft or even tacit humor. As usual for all De Funes movies, the plot is coherent and convincing from A to Z, the topic is still not dusty, because meanwhile our world has been over-rolled by successors of Monsieur Tricatel from the movie, and Louis De Funes is, as he ever was, the most sympathetic heroic anti-hero, bourgeois anti-bourgeois and military anti-militarist how he can perhaps only exist in France.

The Wing or The Thigh? Featuring the incomparable Louis de Funès, is a classic comedic gem that brilliantly showcases de Funès' exceptional talent for humor. It's a film that embodies the essence of French comedy, delivering laughs and amusement in a way only Louis de Funès could.

De Funès' performance in this movie is, as always, a spectacle of comedic timing and expressive humor. His ability to convey comedy through both physical antics and clever dialogue is unmatched, making every scene he's in an absolute delight. The film's premise, revolving around the culinary world and its eccentricities, provides the perfect playground for de Funès' comedic skills.

The story is engaging and filled with humorous situations that keep you entertained throughout. The Wing or The Thigh does an excellent job of blending satire with slapstick comedy, making it a light-hearted and enjoyable watch. The movie's commentary on the restaurant industry and food criticism is both funny and insightful, adding a layer of depth to its humor.

This is one of those cases where you can see the comedy talent of Louis De Funes. Some may not realize it much now, especially those who didn't watch his movies I assume, but he was quite the big comedy star back in the day. And while I did not live in his heydays to I guess enjoy them - let's say I saw them way later than they usually were released. And I only had the german dub in my head until I rewatched a few of his classics recently. His german dub voice did a fantastic voice, but it was nice hearing his own voice for once too.

I almost rated this higher but there is a scene of almost complete vile and something that is borderline torture ... I reckon it was supposed to also be funny but I personally don't like these scenes, even though I know they are part of a movie. Anyhow, that scene is important because it sets our main character back in a "duel", which he wants to win strongly. And that is what makes this movie so funny ... that and Louis being Louis! With the addition of a son and some other side stories there of course

De Funès, just like Bob Hope Before him, did not age gracefully or at least the scripts and stories to his films did not. I do not know exactly when the change occurred but it was some time during or after the film "The Grand Restaurant", where the first half is superb and the second half a catastrophe. Slapstick did not suit Funès. He was best when there was a tight script within which his madness could unfold as in the Fantomas-films or "Le Corniaud", which is probably the best film he participated in. At his best, Funès was quite unique and he did not steal anything from any other comedian as, for instance, Woody Allen did from Bob Hope although they politically could hardly be further apart. Funès was intense and he cannot be blamed for that he could not keep up until the very end, which probably came premature because of his intensity. His early work has wrongfully been put aside as less important but I find that these beginnings were especially charming. It's his later work that often was disappointing as, for instance, this film. I recently saw "Hibernatus" and that was still OK although it belongs to his later work.

"Aile ou la cuisse" is a satire about french gourmet-bible "Gault Millau". French comedian Louis de Funes plays restaurant critic Charles Duchemin who struggles for the subsistence of french cuisine. Because of its many slapstick scenes it is one of my and my friends all time favourites. A great satire about contemporary eating habits and french "grandeur". Just right for a boring sunday afternoon.

I grew up watching Louis De Funès and the comedic geniuses of that era, Bourvil, Coluche etc. The movies are pure joy, some a bit outdated but overall still hilarious. Comedy actors of this caliber are disappearing. L'Aile ou la Cuisse is a classic.

Fun sequences humorously developed the sequences are funny.

one of comedies who reminds, again, the splendid art of de Funes. a art who is not defined by gags or small angry man but for the science to collaborate with the partner. Coluche does a great work as part of couple with Louis de Funes and that is the key of the charming situations and fine humor. Julien Guiomar does the perfect portrait of the enemy of mister Duchemin. and the hilarious situations are the ideal package for the illustration of conflict between tradition and new technology. a film about food and about joy of life. memorable scenes and great challenges to food industry from our days. that detail does it great. and, sure, the talent of a great actor who creates not exactly characters but universes.