Seven years before La Cage aux Folles revealed Albin Mougeotte’s talents on stage, Michel Serrault had the opportunity to create a character even more outrageous than his 1959 antique dealer role.
Philippe de Broca presented this film as a philosophical and political tale against the murderous madness of war. Two forms of humanity stand in opposition: the predatory uniformity of the warrior (not to say capitalist) society, and the joyful, brotherly utopia of a community living together.
A small French village in 1918, threatened with imminent destruction, seems to be living its final hours. The village has been deserted by its inhabitants and its German invaders. Only the residents of an “asylum”, finding the gates open, come back to live in the village. Locked away like prisoners, these societal outcasts, deviants, and so-called “mad” people, burst with freedom in the streets, and bring the village back to life.
Among these characters: Mr. Marcel, a flamboyant homosexual.
All the protagonists form a new society, each fully embracing their role, without shame or judgment. The proest, the prostitute, the barber, etc. They have more love for each other than prejudice. Their micro-society is nothing but joy, exuberance, letting go, and love.
The viewers—you—are infiltrated into the movie like the Scottish spy character, and like him, you will inevitably find yourself thinking that perhaps it is better to be misfits, prisoners of a peaceful fantasy, than caught up in the inhuman madness of state conflicts.
The character of Marcel is treated like the others: he is way eccentric, he plays his role with great emphasis, which allows Michel Serrault to exaggerate a gay stereotype without pathos, malice, or drama.
Unfortunately, the film was a flop, and Mr. Marcel fell into oblivion. Fortunately, Michel Serrault got a second chance in 1973 with La Cage aux Folles.
