Dreadfully Boring

The movie is wonderful and true, an act of love in all its contradictions and complexity

The film's masterful storytelling did its job. The message was clear. No need to overdo.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

"Ah! Les Belles Bacchantes" (known in the English-speaking world as "Peek-a-Boo") is a fitfully amusing French farce about a police officer investigating a music hall revue and eventually becoming part of the troupe.Released in the same year as Renoir's "French Can Can" it is interesting to compare the two films. Certainly Renoir was more clearly emulating the Hollywood style of big budget musicals while this film is much more low key and far less ambitious. Nevertheless, it also gives a more realistic insight into the style of musical hall acts of the era. Free of the puritanical censorship employed in the Anglo-speaking world, many of the acts portrayed are genuinely amusing, albeit highly banal. The nudity is appropriate to the story and completely inoffensive and non- sexual and, indeed, makes for some amusing slapstick.Good use is made of the limited sets and the conceit of almost the entire film consisting of a rehearsal of the stage show is clever and works well. Indeed, the dialogue and story are weak and are really just a framing device for this string of "rehearsals" of acts. The moment when the character breaks the "fourth wall" at the end is especially delightful. In effect, the audience are doubly-distanced from the action in that we are watching a film of a rehearsal. Like the policeman, we are spying on the action that is not yet meant for public consumption. By breaking the fourth wall at the end, the performers tell us they were aware of our presence all along and that we have been welcomed to watch. Unlike the policeman, however, we are only observers and can never truly take part in the show. The best that can happen is the characters can address us directly but we cannot address them back. In this way, the film draws attention to one of cinema's great weaknesses compared to live performances: we are passive consumers, not participants on any level.In conclusion, despite the obvious budget limitations and workmanlike direction and cinematography, this is a genuinely delightful comedy that plays with notions of what is a real performance, what is a rehearsal and who are the audience and who are the participants. A true delight.NOTE: Many viewers may be confused about why the policeman character makes bizarre clucking sounds throughout the film. This is because the police are nicknamed "chickens" in France, just as they are derogatorily called "pigs" in England and Australia.

This film appears to be aplauded by its own countrymen and derided by everyone else. I can only say, as an Englishman that I agree with my French counterparts! This film for me was a delightful surprise! It has to be viewed within the context in which it was made and anyone who thinks that the musical numbers are poor has really missed the point! The film captures in scenes of wonderfully absurd comedy, a rehearsal for a french revue in a second rate variety theatre. It was great fun to see Loius de Funes in an early supporting role, but I particularly like the whole feel of the film. At its most realistic, it really captures the feeling of being there in the theatre while chaos rules the rehearsal.Many of the pieces are hilariously funny, not least the bathing hut scene on the beach and the monks finale piece. For anyone who cringes at the nudity, I was delighted to find it all left in, realistically and is it should be! Also nice to see Agfacolour, though I have to confess that the print I saw was a slightly faded Eastman colour print form my own archive. Never-the-less, a delight and one to be accepted for what it is. It is a delightful time capsule period piece and I loved it!

Robert Dhéry (as he did again later on Theatre with "En sourdine, les sardines", a reference title to his movie "Vos gueules, les mouettes") offers a spoof on a revue in rehearsal with behind the stage problems of many kind, from undelivered costumes (what lead the movie to be restrained to minors of 16)as with a plumber. After a short introduction showing the police (Louis de Funès) eager to check if decency is respected, the rehearsal is shown in real time through the movie, and the fact it is a rehearsal allows unexpected auditions (and bad ones) as imposed by relations. Amateur (Colette Brosset) ruins a number, but there are also classic typical quality numbers with good rhythm as the "bath cabins on the beach" with the game of doors (un)expectedly showing or not the girl inside (what follows works by chronometer as Dhéry was found of all-visual number), another well-staged classic number is "the monks at dawn". A specific audition, where Dhéry plays on stage a silent musician along with Michel Serrault and others from movies "Branquignols" or "Bertrand Coeur de lion", (number re-used with new actors in "Vos Gueules les mouettes") comes from his play "La Plume de ma Tante" interpreted for months in London. Princess Anne of England came five times to see them then invited them to play that act at a private evening in front of Queen Elizabeth.(from Dhéry biography) Her Majesty expected a boring classical music act but understood quickly what she was offered. She promised to come see the play. Dhéry thought the play would be ended shortly, but more than five months later had to ask English spectators to offer their seats for the Royal visit. They accepted if they could stay aside and watch her entrance. During that "royal" show, (from TV interview of Robert Dhéry) another "by the chronometer" act around a "pissotière" (typical french - of the time - place for an "urgent need" for men)was apprehended as in the theater a fat laugh from someone unspotted was arriving regularly. Just before the act Dhéry was told no one could do anything to prevent it, as it was.. Prince Philip. Later "La Plume de ma Tante" was asked for Broadway, and received a Tony award for "Best musical of the year", in the same category than "My Fair Lady" and "West Side Story". Dhéry all surprised said "But we're not Americans.." and was answered on stage "Now you are !". After a long time in New-York (visited in theater by Harold Lloyd - Colette Brosset 's idol -, the Marx Brothers, Danny Kaye and lots of others, invited home by Harpo) with many appearances on TV talk-shows, Dhéry and his wife Colette Brosset decided not to stay in America as he had promised before to film "La Belle Américaine", so they came back to France. As a critic didn't like the previous directing of Robert Dhéry, he let Jean Loubignac direct "Ah! Les Belles Bacchantes". The same critic all-smiling asked him after release "But what not direct it ?". Robert tried to remind him it was because of him what was offered superb denial "I cannot have said that !". So Robert Dhéry directed his next movies (some along with Pierre Tchernia). Robert Dhéry died on December 3, 2004. The only time he didn't me laugh. Look at "Ah! Les Belles Bacchantes" with the flavor of its time. JcBernardo

Ouch! What were they thinking? This movie is so bad, it's scary. It's strictly a showcase for beautiful women. In fact, its only originality is probably the amount of nudity for the time.Louis De Funès' talent is wasted. He's reduce to imitate a chicken. Which is funny, but to carry it on for the entire film is absurd and stupid. Oh! and by the way... the musical numbers are awful. Skip this one, by all mean.Out of 100, I give it 51. That's good for 0 star out of 4.Seen at home, in Toronto, on November 5th, 2002.