La Cage aux Folles II
| La Cage aux Folles II | |
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Theatrical release poster
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| Directed by | Édouard Molinaro |
| Produced by | Marcello Danon |
| Written by | <templatestyles src="Plainlist/styles.css"/>
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| Story by | <templatestyles src="Plainlist/styles.css"/>
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| Based on | Characters by Jean Poiret |
| Starring | <templatestyles src="Plainlist/styles.css"/> |
| Music by | Ennio Morricone |
| Cinematography | Armando Nannuzzi |
| Edited by | <templatestyles src="Plainlist/styles.css"/>
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Production
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| Distributed by | United Artists |
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Release dates
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Running time
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99 minutes[1] |
| Country | <templatestyles src="Plainlist/styles.css"/>
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| Language | French |
| Box office | $7 million[2] |
La Cage aux Folles II is a 1980 French comedy film and the sequel to 1979's La Cage aux Folles. It is directed by Édouard Molinaro and stars Michel Serrault as Albin, (stage name ZaZa), the female impersonator star of a gay night-club revue, and Ugo Tognazzi as Renato, his partner of over twenty years.
Plot
A spy plants a capsule of microfilm on Albin and from then on spies and government agents pursue him. Albin and Renato travel to Italy to hide at Renato's mother's farm. At each point along the way we see the straight world's reaction to Albin.
Cast
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- Michel Serrault as Albin Mougeotte/ZaZa Napoli
- Ugo Tognazzi as Renato Baldi
- Marcel Bozzuffi as Broca, chief of the government agents
- Michel Galabru as Simon Charrier
- Paola Borboni as Mrs. Baldi, Renato's mother
- Benny Luke as Jacob, Renato and Albin's housekeeper
- Giovanni Vettorazzo as Milan
- Glauco Onorato as Luigi
- Roberto Bisacco as Ralph
- Gianrico Tondinelli as Walter
- Giorgio Cerioni as Gunther
- Nazzareno Natale as Demis
- Antonio Francioni as Michaux
- Stelio Candelli as Hans
- Mark Bodin as Caramel, Albin's would-be replacement
- Tom Felleghy as Andrew Manderstam
Critical response
The film was favorably reviewed by the critic Pauline Kael in The New Yorker: " La Cage aux Folles II has nothing to do with the art of movies, but it has a great deal to do with the craft and art of acting, and the pleasures of farce. Serrault gives a superb comic performance - his Albin is a wildly fanciful creation. There's a grandeur about Albin's inability to see himself as he is. And maybe it's only in this exaggerated form that a movie about the ridiculousness and the tenderness of married love can be widely accepted now. At the end, after Albin has been kidnapped by the spies, Renato, who is nearby with the police, can't think of anything but his beloved Albin. And, suddenly, forgetting the danger, each starts running toward the other, and they meet between the two armed groups like lovers in an opera. One of the policemen watching their embrace is weeping. "It's beautiful," he says." [3]
References
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- ↑ Pauline Kael, Taking It All In, p.167 ISBN 0-7145-2841-2
External links
- Use dmy dates from August 2012
- 1980 films
- French-language films
- Pages using div col with unknown parameters
- French films
- Italian films
- 1980s comedy films
- 1980s LGBT-related films
- French comedy films
- French LGBT-related films
- French sequel films
- Italian comedy films
- Italian LGBT-related films
- Italian sequel films
- Cross-dressing in film
- Films directed by Édouard Molinaro
- Films set in France
- Films set in Sicily
- Films shot in France
- Films shot in Italy
- United Artists films
