Biography: life and films
It's a myth that the French do not know how to make great film
comedies. Comedy has and will always be one of the mainstays of French
cinema, thanks in part to France's abundance of superb comedy
performers. In film, the greatest French comic actor of them all
is Louis de Funès, the star of some of France's most successful
screen comedies and a popular cultural icon.
Affectionately known as
Fufu, this giant among comedy giants made making people laugh an art
and it is impossible to watch any of his performances without
succumbing to his genius for farce, mimicry or general off-the-wall
lunacy. In a career that spanned five decades, Louis de
Funès lent his inestimable talents to over 150 films, although
it wasn't until the mid-1960s that he became a star, the brightest and
most enduring in the French comedy firmament.
Born in Courbevoie on 31st July 1914, Louis Germain David de
Funès de Galarza (to give him his full name) was descended from
the Spanish nobility and was the third child of Carlos Luis de Funes de
Galarza, a lawyer who became a diamond merchant with vain hopes of
making a fortune after settling with his family in France. His
sister Marie ended up marrying the film director François Gir
(who gave him one of his first substantial film roles in
Mon pote le gitan in 1959), and
his older brother Charles died as an infantryman in the French army
during WWII, one month before France's capitulation to Nazi
Germany. It was through his mother that de Funès became an
accomplished pianist at an early age.
As a boy, de Funès was always getting into trouble, on account
of his habit of fooling about, a habit that made it hard for him to
succeed at school and later hold down a job. In 1932, he enrolled
at the École technique de photographie et de cinéma,
where he came into contact with future ace cinematographer Henri
Decaë, but managed to get himself expelled for starting a
fire. In 1936, he married his first wife,
Germaine-Louise-Élodie Carroyer, but the couple separated three
years later and were divorced in 1942. When WWII was declared in
September 1939, de Funès was turned down by the French army on
medical grounds (erroneously as it turned out) and for the next few
years he survived on odd jobs before finding work as a pianist in a
Parisian nightclub.
It was in 1942 that the 28-year-old de Funès made up his mind
that he would embark on a career as an actor. To that end, he
enrolled in a drama course and it was here that he met Daniel
Gélin. It was the latter, soon to become a major star of
French cinema, who led de Funès to make his acting debut in
Marc-Gilbert Sauvajon's stage play
L'Amant
de paille and then his screen debut (appearing in just one scene
as a hotel doorman) in Jean Stelli's comedy-fantasy
La Tentation de Barbizon
(1945). In 1943, he married Jeanne Augustine Barthélemy,
a grand-niece of the writer Guy de Maupassant. The couple would
have two sons, Patrick and Olivier, the latter of whom would appear in
six of his father's films in the 1960s and early 70s before giving up
acting altogether.
Stardom eluded Louis de Funès for many, many years, although he
had no difficulty finding work. Over the next ten years, he
appeared in around fifty films, always in minor roles, often as a
walk-on. Although some directors saw at once his comic potential
and made good use of his comedic skills, no one was willing, yet, to
offer him a substantial film role. These early films included
La Fugue de Monsieur Perle
(1952), in which de Funès shared a scene or two with established
comedy star Noël-Noël, and
La
Reine Margot (1954), featuring a debutante Jeanne
Moreau. Sacha Guitry cast him in some of his films of this
period, notably
La Poison (1951).
Meanwhile, de Funès also pursued a parallel career off-screen
and lent his talents as a pianist and comic to Max Révol's
comedy troupe Les Burlesques de Paris and then Robert Dhéry's
Les Branquignols.
The actor's first big break came in 1956 when he was cast as the
blackmarket pork butcher Jambier (another small role) in Claude
Autant-Lara's popular WWII comedy,
La Traversée de Paris.
This film starred two other icons of French cinema, Jean Gabin and
Bourvil, with whom de Funès would work again once he had been
elevated to stardom in the mid-1960s. This led director Maurice
Régamey to give the actor his first lead role in the enjoyably
daft comedy
Comme un cheveu sur la soupe
(1957), which earned de Funès the Grand Prix du rire in
1957. The popularity of Yves Robert's
Ni
vu, ni connu (1958), in which de Funès played
Alphonse Allais's famous poacher Blaireau, raised his profile further.
Despite such early successes, stardom still remained elusive and for
the next five years the actor was relegated to minor roles in big films
(
Le Capitaine Fracasse) or
biggish roles in minor films (
Dans l'eau qui fait des bulles).
Just as his film career appeared to be stalling, de Funès' stage
career suddenly took off, and it was through his performance in Claude
Magnier's stage play
Oscar
that he had first major success, in 1959. (He later reprised the
role in the play's
film adaptation,
directed by Édouard Molinaro in 1967). It was for this
play that de Funès perfected his now familiar screen persona -
the likeably tetchy, small-minded authority figure that French
audiences loved to hate.
When stardom came de Funès' way, it came suddenly, via Jean
Girault's film,
Pouic-Pouic, a boisterous
comedy that was such a success it guaranteed top billing for the actor
on all of his subsequent films. After this first collaboration,
director Girault saw de Funès as the perfect choice for the part
of the comically irascible lead in
Le Gendarme de Saint-Tropez
(1964). The film's popularity instantly made Louis de Funès one
of the most popular actors in France and was followed by five
sequels. Hot on the heels of this success, another followed with
de Funès' memorable appearance as the inept Inspecteur Juve
alongside Jean Marais's green-skinned criminal mastermind in
André Hunebelle's
Fantômas (1964).
Even though de Funès and Marais reputedly hated each other, they
agreed to appear in two sequels, the best being
Fantômas contre Scotland Yard
(1967).
By now, French cinema audiences just couldn't get enough of de
Funès. Appearing with another comic icon, Bourvil, in
Gérard Oury's madcap comedy-thriller
Le
Corniaud (1965), the actor attracted almost 12 million
spectators, but this was dwarfed by his next screen triumph.
Again partnered with Bourvil, with support from British comedy hero
Terry-Thomas, de Funès drew an audience of 17.3 million with
Oury's next film,
La Grande vadrouille (1966),
one of the few de Funès films to get a worldwide distribution,
best known outside France under its English title
Don't Look Now... We're Being Shot At!
An action-oriented comedy set at the time of the Occupation, this held
the record for the most successful film made in France for twenty-two
years, finally overtaken by Dany Boon's
Bienvenue chez les Ch'tis in
2008. Oury planned a further rematch for his two comic legends in
his film
La Folie ds grandeurs, but
Bourvil's death in 1970 put paid to this and de Funès ended up
being paired with Yves Montand in this film.
Throughout the 1970s, Louis de Funès remained one of French
cinema's most bankable stars, although he seldom appeared in films that
were worthy of his talents, perhaps because of his preference for
working with actors and directors he knew he could get on with.
He was particularly loyal to Jean Girault, who directed most of his
later comedies, the best being
Jo (1971), a rare excursion
into black comedy, and
L'Avare (1980), an impressive
Molière adaptation which he co-directed with de
Funès. On the acting front, de Funès
especially enjoyed working with Claude Gensac, who played his on-scren wife in
several films, notably
Le Gendarme se marie
(1968). Of the directors he worked with, it was Gérard
Oury who showed him at his best. Their final collaboration,
Les Aventures de Rabbi Jacob
(1973), was another notable success, despite its controversial subject
matter.
In March 1975, whilst performing
La
Valse des toréadors on stage, de Funès began to
experience pains which were the first symptoms of a heart defect.
After suffering a heart attack a short while afterwards, he was
admitted to hospital and was forced to take a break from acting.
Once he was back on his feet, he was keen to resume his career, but had
to be less energetic in his performances as, gradually, his health
began a slow deterioration. His next film appearance was in
Claude Zidi's
L'Aile ou la cuisse, in which
he was the perfect comedy foil to another cultural icon in-the-making,
Coluche. De Funès starred in five films after this, the
best being
L'Avare (1980),
which was released just a few weeks after the actor received an
honorary César in recognition of his contribution to French
cinema.
The strain of making
Le Gendarme et les gendarmettes
took its toll on de Funès and just a few months after completing
work on this film the actor suffered a fatal heart attack, on 27th
January 1983. His passing came amid a media frenzy and over three
thousand people attended his funeral service at the church of
Saint-Martin in Le Cellier in the northwest of France. Through
his film work, Louis de Funès remains as alive today as ever he
was, entertaining millions around the world through his extraordinary
gift for making people laugh. Whenever his films are screened on
French television, a ratings busting audience is assured, and some of
the mostly popular DVD titles in France have his name on them.
The one tragedy of de Funès' career is that he never attained
international stardom in his lifetime. A man who was as funny,
generous and punctilious as he was deserved far wider celebrity than he
achieved, but being a modest and self-deprecating individual at heart he was
probably more than satisfied with what he did achieve, which was to make France
roll with laughter for the best part of two decades.
© James Travers 2015
The above content is owned by frenchfilms.org and must not be copied.