"La Beuze" is a French production emulating "The Blues Brothers", Cheech-and-Chong comedies, "Scarface", "Wayne's World" and 70s Blaxploitation flicks. On this cult referential level, the film aims so high (no pun intended) that even its shortcomings manage to bring a fair dose of laughter, revealing a consistent plot (while not a first prize of originality). It's a credit to Michael Youn and his sidekick Vincent Desagnat not to have gone for what could have easily been a vehicle for their TV antics but instead a story that went somewhere... even if it wasn't that special.
I used up a whole paragraph about Youn's debuts on TV in my review of "The 11 Commandments" so I'll get right to the point with "La Beuze", the film directed by Desagnat's father and written by a team whose merit isn't to feature Youn. This is not a comment on his talent (he's a fairly good comedic actor and he sure has an instinct for jokes) but it's interesting that the directing and writing were left to professionals. Many comedians taking their skills for granted decide to cover every artistic department, which generally ends with disastrous results, not necessarily box office flops but movies all flash and no substance forgotten as soon as they're seen.
To give you an example: there's a film from the same year titled "Who Shot Pamela Rose?" and written by comedic duo Kad and Olivier. They proved to be hilarious for the parody format à la SNL, but I said about their film: "nothing tries to elevate it above its TV skit format, it's an unambitious project that tried to capitalize on two comedians' popularity instead of their talent, which they have." "La Beuze" doesn't fall into that trap and deserves to be commended for that, it even succeeds by making a parody of every common trope of the stoner comedy (and the references are numerous) but not by relying the entire script on it.
Take the cop played by Lionel Abelanski who's obviously a nod to Dirty Harry. The film gratifies us with as many scenes as it takes to relate to him, even a flashback. Now that flashback explaining his personal record with drugs might not work for everyone, but highlight a certain effort from writers to bring elements of three-dimensionality outside the leading pair. The catch is that the more subtle and interesting some characters are, the more underdeveloped others look: Zoe Felix plays the trophy girl whose purpose is to look sexy and taunt our heroes but the script wastes the opportunity of a twist about her. Former rapper Kool Shen makes a brief and memorable cameo.
Anyway, "La Beuze" is mostly about Alphonse Brown and his buddy Scotch Bitman, names that have been designed to be easily remembered. Brown is back from jail after covering one of his dim-witted friend's mistakes and we learn that he believes he's the son of James Brown and like Tony Montana, he's got hands made for gold. It doesn't matter whether the kinship is true but the film starts almost immediately with its hit song whose refrain is "his name is Alphone Brown". The song that establishes the birth of a new style of music, named "Frunkmp" '(a mix of Rap and Funk) became a top-charter in 2003. It's downright silly and stupid but the clip adds a small air of credibility in Youn's attempt to pass as a singer; at the very least he's an entertainer.
So this Brown is quite an interesting character and Youn knows it enough not to play it in an over-the-top way, and when he tries too hard with girls or fails to impress the local drug lords, I didn't feel sorry for him as much as I was reminded me of these lyrics from "Pretty Fly" - written right for a character like Alphonse- "He may not have a clue and he may not have style, but everything he lacks, well, he makes up in denial". And that's Brown and seeing him transitioning from that lunatic to a guy with the ambition of Tony Montana except is oddly delightful.
So what we get with "La Beuze" is two buddies who've discovered the best 'beuze' in the world (needless to say what this word means) and try to find the most lucrative demand. Alphonse even obeys the golden rule of not getting high on his own supply (lollipops will help) but he eventually underestimates the greed of the enemy and ends up chased by the police, the descendant of the Nazi officer who made up that very 'beuze' by way of a secret weapon against the Allies, a West Indies drug lord, and an All-Black rugby player who keep popping up when the film needs its fantasy or musical interlude.
It's a crazy plot and that the film doesn't end with a reference to "Lock, Stock and Two Smoking Barrels" and a Mexican stand-off à la "True Romance" is rather admirable, just when you think it's going the easy way, it finds the one that surprises you. And that's because, unlike his character, Youn who does have a clue (of the audience he's targeting) and he sure has style while not trying to pass a new comic genius. The film takes itself not too seriously but seriously enough to satisfy the fans and appease the skeptics. And it doesn't promote any illegal consumption, the closest thing to a promotion is the wannabe hit clips from the beginning and the ending.
And the craziest thing about the film is that they never feel out of context, they reminded me of the product placement scene in "Wayne's World", efficient and consistent with the plot, to the point it can be deemed as a French "Wayne's World". Anyway, the film works because it aims so high (no pun intended) that it never totally fails...
I used up a whole paragraph about Youn's debuts on TV in my review of "The 11 Commandments" so I'll get right to the point with "La Beuze", the film directed by Desagnat's father and written by a team whose merit isn't to feature Youn. This is not a comment on his talent (he's a fairly good comedic actor and he sure has an instinct for jokes) but it's interesting that the directing and writing were left to professionals. Many comedians taking their skills for granted decide to cover every artistic department, which generally ends with disastrous results, not necessarily box office flops but movies all flash and no substance forgotten as soon as they're seen.
To give you an example: there's a film from the same year titled "Who Shot Pamela Rose?" and written by comedic duo Kad and Olivier. They proved to be hilarious for the parody format à la SNL, but I said about their film: "nothing tries to elevate it above its TV skit format, it's an unambitious project that tried to capitalize on two comedians' popularity instead of their talent, which they have." "La Beuze" doesn't fall into that trap and deserves to be commended for that, it even succeeds by making a parody of every common trope of the stoner comedy (and the references are numerous) but not by relying the entire script on it.
Take the cop played by Lionel Abelanski who's obviously a nod to Dirty Harry. The film gratifies us with as many scenes as it takes to relate to him, even a flashback. Now that flashback explaining his personal record with drugs might not work for everyone, but highlight a certain effort from writers to bring elements of three-dimensionality outside the leading pair. The catch is that the more subtle and interesting some characters are, the more underdeveloped others look: Zoe Felix plays the trophy girl whose purpose is to look sexy and taunt our heroes but the script wastes the opportunity of a twist about her. Former rapper Kool Shen makes a brief and memorable cameo.
Anyway, "La Beuze" is mostly about Alphonse Brown and his buddy Scotch Bitman, names that have been designed to be easily remembered. Brown is back from jail after covering one of his dim-witted friend's mistakes and we learn that he believes he's the son of James Brown and like Tony Montana, he's got hands made for gold. It doesn't matter whether the kinship is true but the film starts almost immediately with its hit song whose refrain is "his name is Alphone Brown". The song that establishes the birth of a new style of music, named "Frunkmp" '(a mix of Rap and Funk) became a top-charter in 2003. It's downright silly and stupid but the clip adds a small air of credibility in Youn's attempt to pass as a singer; at the very least he's an entertainer.
So this Brown is quite an interesting character and Youn knows it enough not to play it in an over-the-top way, and when he tries too hard with girls or fails to impress the local drug lords, I didn't feel sorry for him as much as I was reminded me of these lyrics from "Pretty Fly" - written right for a character like Alphonse- "He may not have a clue and he may not have style, but everything he lacks, well, he makes up in denial". And that's Brown and seeing him transitioning from that lunatic to a guy with the ambition of Tony Montana except is oddly delightful.
So what we get with "La Beuze" is two buddies who've discovered the best 'beuze' in the world (needless to say what this word means) and try to find the most lucrative demand. Alphonse even obeys the golden rule of not getting high on his own supply (lollipops will help) but he eventually underestimates the greed of the enemy and ends up chased by the police, the descendant of the Nazi officer who made up that very 'beuze' by way of a secret weapon against the Allies, a West Indies drug lord, and an All-Black rugby player who keep popping up when the film needs its fantasy or musical interlude.
It's a crazy plot and that the film doesn't end with a reference to "Lock, Stock and Two Smoking Barrels" and a Mexican stand-off à la "True Romance" is rather admirable, just when you think it's going the easy way, it finds the one that surprises you. And that's because, unlike his character, Youn who does have a clue (of the audience he's targeting) and he sure has style while not trying to pass a new comic genius. The film takes itself not too seriously but seriously enough to satisfy the fans and appease the skeptics. And it doesn't promote any illegal consumption, the closest thing to a promotion is the wannabe hit clips from the beginning and the ending.
And the craziest thing about the film is that they never feel out of context, they reminded me of the product placement scene in "Wayne's World", efficient and consistent with the plot, to the point it can be deemed as a French "Wayne's World". Anyway, the film works because it aims so high (no pun intended) that it never totally fails...
