Rather the other way around: Kruger designates him as one of the most influential interpreters of today, detecting his mark on Jim Carrey’s elastic face, but also on the main board of French comic cinema, headed by names such as Jean Dujardin, Benoît Poelvoorde or Christian Clavier, protagonist of my God, but what have we done to you.
Direct heir to his humor. Even Nicolas Sarkozy joked about his supposed resemblance to the actor in the campaign that brought him to the Elysium in 2007: comparing himself to De Funès made him human.
The actor may seem like a formaldehyde-preserved symbol of the Thirty Glorious, the three decades of exorbitant growth that France experienced until the late 1970s. Even so, returning to his films today allows us to discover more than just a plea in favor of the right-wing, Catholic and monarchist man who was in real life.
In reality, there is an ambivalence in them: De Funès embodies the France of those years, but also ridicules it. In the current revision of his filmography, his usual character of an angry family father or a tyrannical boss, always ready to humiliate his poor subordinates, seems less an apology than a collective portrait.
“He is the Frenchman who is always ready to complain and rage, strong with the weak and not so much with the powerful”, confirms the writer Nicolas Mathieu, Goncourt winner with His children after them and a confessed admirer of De Funès.
The novelist believes that the success of his films during confinement is linked to childhood memories, to the irrepressible melancholy of Sunday nights. “Viewers of my generation watched the movies as children and remember the credits of the Gaumont, the pajamas and the school that started again the next day.
When they return to their films, they find that protective and regressive nest, with a laugh that they can now share with their children ”. “Viewers of my generation watched the movies as children and remember the credits of the Gaumont, the pajamas and the school that started again the next day. When they return to their films, they find that protective and regressive nest, with a laugh that they can now share with their children ”.