Three Men and a Cradle
1985 [FRENCH]
Keywords: woman director
Jacques, Pierre, and Michel are three adult friends who enjoy single life until they find themselves stuck with a baby.
Coline Serreau
Philippine Leroy-Beaulieu as Sylvia
French 2.0
Reviewed by gentendo 6 / 10
Cultural Awareness / Character Arc
Cultural Awareness.
The distinction between the roles that men and women play in this community conforms to many stereotypes, yet interestingly enough, captures the very essence of what can be learned when gender plays against those types. As the assuming standard goes, women, for the most part, are seen in many cultures as the nurturing figures of children; whereas men, to the contrary, are more or less the bread-winners of successful businesses. The women in this film conform to the stereotype of being overly sap-happy in regards to their interactions with children. For men, however, nurturing is not a fundamental component of their nature. Men, according to the stereotype, are rugged, adventurous, fearless and egocentric. Despite the traditional stereotype of men, this film expresses how those roles reverse. It gives new meaning to how men would instinctively respond when placed in positions of considerable moral obligation and sensitivity.
As depicted in the film, three fun-loving yet humorously untrained bachelors are placed under a challenging position when an unknown baby girl swaddled in a cradle arrives unexpectedly at their door. The anxiety they express both through verbal remarks and fidgeting body language convey their conformance to the typical male response. In short, they are displayed as buffoons. They are not in touch with their child-like intuition and seem completely untrained for such a surprise. It's ironic though: on the one hand, they feel inadequate and unsure how to react; yet at the same time, their sense of moral obligation kicks in and they feel compelled to act responsibly. However, they refuse to surrender this new information to anyone (especially women). It's as if a breach in this information would be too challenging for their egos (something none of them are willing to sacrifice—at least in the beginning of the film). As they begin to perform the obligatory duties of caring for the child, their love grows immensely for her and they seem to replace the traditional role of women as caretakers.
Character Arc.
I would like to amalgamate the three men in this film as the main character due to their similar dysfunctions and level of competence. In the beginning of the film, they all share an unsettling sense of clumsiness and naivety in regards to their reaction to the child at their doorstep. None of them know properly how to hold a child, change diapers, buy appropriate milk formula, and put the child to sleep effectively. However, as they rise to fulfill their moral duties in taking care of the child's needs, they discover that they do possess something far beyond any talent could afford. They possess the attribute of love. This love propels them to begin making sacrifices for the child beyond their own selfish desires. One of the men cancels a special date he had planned with his girlfriend; another postpones his cartoon drawings for his business. All of these small yet profound sacrifices demonstrate the men's love they have for the child. Even though they never seem very happy when caring for its needs (this due to the strenuous task it is to raise children effectively), the rewards of knowing how much they love the child is shown when their house gets broken into by drug addicts. The house is left in ruins, yet the only concern on their minds is to secure the safety of the child. This shows their extreme dedication to human life beyond what any material possession could afford them. Through practice, patience and time, the men learn how to cope with the situation at hand. At the end of the film when the real mother comes back to claim the child, all three men go through withdrawals (a symbol of their attachment). The withdrawals are all natural results of seeing how much time, energy and love they placed into raising the child. The maxim is fulfilled in their hearts, "Love knows not its own depth until the hour of separation." They have changed in the end, becoming more refined and sensitive. They have gained a new perspective through the things in which they suffered in knowing not only what love is, but also realizing their inner-strength of knowing how much weight is possible for them to bear.
Reviewed by SangamYadagiri 7 / 10
funny and warm hearted movie
I saw this French version with English subtitles. It's so hilarious from the start to end. When three bachelors get a baby girl, first they hesitate about how to live with the baby. Then they start loving her.
There is a subplot of smuggling thrown into it. Nevertheless, the movie falls into a comedy genre.
Well, what can i say, it has to be seen to feel the essence of the movie. Even though, it's in french, i could understand the 99 percent of the movie.
The highlight of the movie is the baby. Her little expressions and movements are the central point of the movie. She makes you feel that absolute innocence. That is where the film succeeds.
Reviewed by LeRoyMarko 7 / 10
Well made
I saw the American version of this movie a long time ago, but as I remember it, I prefer this original French version.
The acting is good, especially Roland Giraud. The first half of the movie is simply hilarious. It's even better when you know french, because some of the fun always get lost during translation.
Still good today.
Out of 100, I gave it 77. That's **½ on a **** stars rating system.
Seen at home in Welland. June 23th, 2001. Marko Roy.