L'emmerdeur

L'emmerdeur

Movie · 1973 · 3 people

Édouard Molinaro directed the 1973 French-Italian black comedy L'emmerdeur (literally "The Troublemaker"). It runs about 80 minutes, was shot in French and is also classed as a buddy film. In English-speaking markets it was sold as A Pain in the Ass, in Germany as Die Filzlaus and in East Germany as Die Klette. It is also known as Jacques Brel's tenth and last feature film.

The story starts with a contract killer: a professional hitman takes a hotel room to wait for his victim, but his plan is wrecked by a suicidal salesman next door. Afraid that a death would bring the police to the hotel, the killer unwillingly becomes the man's protector and has to prevent the suicide. Their reluctant partnership feeds both tension and humour. Lino Ventura and Jacques Brel lead the cast, with Caroline Cellier, Jean-Pierre Darras, Nino Castelnuovo and André Valardy also appearing.

Francis Veber adapted the screenplay from his own stage play Le contrat, which opened in Paris in September 1970 and was a hit again in a 2005 revival. Alexandre Mnouchkine produced. The story has been retold several times: the American Buddy Buddy (1981), the Turkish adaptation Baş Belası (1982), a reworked version Veber himself directed in 2008, and the Indian Bumboo (2012).

DirectorÉdouard Molinaro

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Through different eyes

Action & Thriller Fan Puts pace, tension and set pieces first; little patience for slow drama.

A hitman, a hotel room and a target on the way: it starts out like a real thriller. But once the suicidal salesman next door gets involved, it turns into a comedy. Anyone like me who wants gunfire and chases may be a little disappointed; the real conflict here is between the two men. At about 80 minutes it never drags, short and tidy.

Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

It is billed as a black comedy, and it is about a man who wants to kill himself and a hitman. So it is not for young children. For teenagers and adults, the forced partnership of two opposite men can be fun. The humour is dark at times; if suicide is a sensitive subject for someone at home, think about that first. Older viewers who love Lino Ventura and Jacques Brel will enjoy it.

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

Lino Ventura's grave toughness and Jacques Brel's fragile cheer: just seeing these two names together warms the heart. That this was Brel's last feature film adds a touch of sadness of its own. The story Francis Veber adapted from his own play is so sturdy that it has been remade again and again, including a Turkish version, Baş Belası, in 1982. I would still choose this first screen version. A word of caution about the black-comedy label, though: humour built around suicide will not sit well with everyone.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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