Les Pépées font la loi (1955)
Directed by Raoul André

Comedy / Crime / Thriller

Film Review

Abstract picture representing Les Pepees font la loi (1955)
Had it been scripted and directed with a little more flair and imagination, Les Pépées font la loi could very well have been a classic in the French comedy-thriller genre.  Sadly, despite its brilliant premise - one that would doubtless have warmed the heart of any militant feminist of the time - the film fails to take off and ends up being just another routine comedy.  The film's one saving grace is its cast, headed by a formidable Suzy Prim, who is superb as the leader of a gang of surprisingly vicious harridans pursuing a rescue mission, wreaking havoc in the Parisian underworld as they do so.  The scene in which these elegantly coiffeured beldams interrogate/torment a captured kidnapper in their kitchen recalls a similar scene in Quentin Tarantino's Reservoir Dogs (1992) and whilst it is somewhat funnier (and involves slightly less bodily mutilation) it is still just as disturbing.  "Is this meant to be a comedy?" you ask as one pretty young thing prepares to poke out her captive's eyes.  Louis de Funès's welcome appearance as a likeably nasty hoodlum answers that question in the affirmative, although without his presence you'd be less certain about this.  Les Pépées font la loi may not live up to its premise, and it does tread a thin line between sadism and mirth, but it's canny inversion of gender archetypes does at least set it apart from similar films of its time.
© James Travers 2014
The above content is owned by frenchfilms.org and must not be copied.

Film Synopsis

Flora finds she has to take the law into her own hands when her daughter Nathalie is kidnapped one day.  Her first thought is that her precious offspring has managed to get herself mixed up in a bothersome drugs trafficking operation, so rather than get onto the police she decides to deal with the matter by herself, assisted by her other three daughters: Elvire, Christine and Elisabeth.  It so happens that Flora was once married to a gangster, so she knows her way around the Parisian underworld.  With the help of her gangland contacts, she manages to inveigle her way into a gang run by someone who calls himself Monsieur Charles.  Flora will not be satisfied with merely rescuing Nathalie.  With her own gang, she intends to inflict a just retribution on the naughty men who have caused her so much inconvenience and worry.  In a man's world, it is the women who should make the laws...
© James Travers
The above content is owned by frenchfilms.org and must not be copied.


Film Credits

  • Director: Raoul André
  • Script: Raymond Caillava
  • Cinematographer: Georges Delaunay
  • Music: Daniel White
  • Cast: Claudine Dupuis (Elvire), Dominique Wilms (Elisabeth), Louise Carletti (Christine), Michèle Philippe (Nathalie), Suzy Prim (Flora), Louis de Funès (Jeannot La Bonne Affaire), Jean Gaven (Frédéric Langlet), Laurent Dauthuille (Le kidnappeur), Jean-Jacques Delbo (Le truand qui bat Nathalie), André Roanne (Le Professeur), René Havard (Calamart), Olivier Mathot (Michel), Paul Péri (Casanova), Paul Demange (L'encaisseur à la sacoche vide), Paul Dupuis (Georges), Simone Berthier (Hortense), Jacqueline Noëlle (La brune de café), Yoko Tani (La fleuriste du Lotus), Jérôme Goulven, Don Ziegler
  • Country: France
  • Language: French
  • Support: Black and White
  • Runtime: 95 min

The best of Russian cinema
sb-img-24
There's far more to Russian movies than the monumental works of Sergei Eisenstein - the wondrous films of Andrei Tarkovsky for one.
Kafka's tortuous trial of love
sb-img-0
Franz Kafka's letters to his fiancée Felice Bauer not only reveal a soul in torment; they also give us a harrowing self-portrait of a man appalled by his own existence.
The best films of Ingmar Bergman
sb-img-16
The meaning of life, the trauma of existence and the nature of faith - welcome to the stark and enlightening world of the world's greatest filmmaker.
The very best of Italian cinema
sb-img-23
Fellini, Visconti, Antonioni, De Sica, Pasolini... who can resist the intoxicating charm of Italian cinema?
The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
 

Other things to look at


Copyright © frenchfilms.org 1998-2024
All rights reserved



All content on this page is protected by copyright