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The Ghost In My Machine

Stories of the Strange and Unusual

The Devil by the Tail, released in 1969 as Le Diable par la queue, is a seminal work in the career of French director Philippe de Broca. This whimsical comedy serves as a bridge between the French New Wave and the grand tradition of European farce, showcasing de Broca’s signature blend of sophisticated wit, visual elegance, and anarchic spirit. The film captures a specific cultural moment in France, where the crumbling prestige of the aristocracy met the rising tide of modern tourism and shifting social mores.

Visually, de Broca employs a lush, colorful palette that romanticizes the French countryside while maintaining a sense of theatrical artifice. The cinematography emphasizes the sprawling, labyrinthine nature of the chateau, which mirrors the moral complexity of the characters' schemes. The score by Georges Delerue adds a layer of lighthearted elegance, perfectly capturing the film’s "joie de vivre."

The performances are the engine of the film’s success. Yves Montand delivers a masterful performance as Cesar, portraying a "gentleman thief" with a mix of menace and irresistible magnetism. His presence acts as a catalyst, forcing the family members to confront their own desires. Maria Casarès, as the Marquise, provides a formidable counterpoint, embodying the resilience of the old world. The chemistry between the cast members facilitates the film’s rapid-fire dialogue and physical comedy, ensuring that the pacing never falters even as the plot becomes increasingly convoluted.

Ultimately, The Devil by the Tail is a celebration of human ingenuity and the absurd lengths people will go to protect their way of life. It avoids moralizing, choosing instead to find humor in the flaws of its characters. By the film’s conclusion, the lines between the "honest" aristocrats and the "dishonest" criminal have blurred, suggesting that everyone is, in some way, holding the devil by the tail. It remains a classic of French cinema, remembered for its charm, its cast, and its delightful refusal to take the world too seriously.

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The Devil By The Tail -

The Devil by the Tail, released in 1969 as Le Diable par la queue, is a seminal work in the career of French director Philippe de Broca. This whimsical comedy serves as a bridge between the French New Wave and the grand tradition of European farce, showcasing de Broca’s signature blend of sophisticated wit, visual elegance, and anarchic spirit. The film captures a specific cultural moment in France, where the crumbling prestige of the aristocracy met the rising tide of modern tourism and shifting social mores.

Visually, de Broca employs a lush, colorful palette that romanticizes the French countryside while maintaining a sense of theatrical artifice. The cinematography emphasizes the sprawling, labyrinthine nature of the chateau, which mirrors the moral complexity of the characters' schemes. The score by Georges Delerue adds a layer of lighthearted elegance, perfectly capturing the film’s "joie de vivre." The Devil by the Tail

The performances are the engine of the film’s success. Yves Montand delivers a masterful performance as Cesar, portraying a "gentleman thief" with a mix of menace and irresistible magnetism. His presence acts as a catalyst, forcing the family members to confront their own desires. Maria Casarès, as the Marquise, provides a formidable counterpoint, embodying the resilience of the old world. The chemistry between the cast members facilitates the film’s rapid-fire dialogue and physical comedy, ensuring that the pacing never falters even as the plot becomes increasingly convoluted. The Devil by the Tail, released in 1969

Ultimately, The Devil by the Tail is a celebration of human ingenuity and the absurd lengths people will go to protect their way of life. It avoids moralizing, choosing instead to find humor in the flaws of its characters. By the film’s conclusion, the lines between the "honest" aristocrats and the "dishonest" criminal have blurred, suggesting that everyone is, in some way, holding the devil by the tail. It remains a classic of French cinema, remembered for its charm, its cast, and its delightful refusal to take the world too seriously. Visually, de Broca employs a lush, colorful palette

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