Réalisation:
Yves RobertPhotographie:
René MathelinMusique:
Vladimir CosmaActeurs·trices:
Pierre Richard, Jean Carmet, Jean Rochefort, Mireille Darc, Colette Castel, Jean Bouise, Henri Guybet, Yves Robert, Paul Le Person (plus)Résumés(1)
Après mille péripéties, le Grand Blond est parti au Brésil avec sa chaussure noire, son violon et la séduisante Catherine. Les tueurs du méchant Toulouse sont trop maladroits pour troubler ses vacances bien méritées. Et tout irait pour le mieux si, à Paris, un petit capitaine épris de justice, n'enquêtait pas sur la mort étrange de Milan. Le retour du Grand Blond va bien sûr poser un problème au colonel Toulouse... Et tout recommence. (Gaumont)
(plus)Vidéo (1)
Critiques (3)
François Perrin is indeed like Otto von Stierlitz. If the secret police were to occupy all the exits from the building, he would escape through the entrance. Not only does the variation on Cosmos's central theme suggest that we are watching Idiot Finger or The Spy, which irritated me, but I desperately missed what begins with Mireille Darc at the end of the neckline of her amazing dress. ()
The two films about the tall blond man form a very balanced whole, dominated by the scene at the airport. It depicts the full range of feelings of a French film that knows how to defend and resist Hollywood in its own way. The reverberations of the scene with the horse are particularly humorous. ()
"We will now go together to respectfully greet our new minister." - "He was previously in agriculture. He is forty-five years old, has an ugly wife and four children." It's hard to tell if The Return of the Tall Blond Man is really worse than the first film, because primarily, it's different. This time it's not crazy and slightly believable, but rather just crazy. Fortunately, none of the participants lost the most important ability - to entertain. And Vladimir Cosma has beautifully played with the crossover of the motif of the Tall Blond Man and James Bond. ()
Annonces