Crooks in Clover

Les Tontons flingueurs (1963)
Timing: 1:51 (111 min)
7.6/10
8 332

no scores
7.7/10
568
7.7/10
7199
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$0
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$0
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Director
Scenario
Producer
Alain Poiré, Robert Sussfeld, Irénée Leriche
Camera operator
Maurice Fellous
Composer
Artist
Audition
Editing
Michelle David
Whole Team (13)

Short description

An aging gangster, Fernand Naudin is hoping for a quiet retirement when he suddenly inherits a fortune from an old friend, a former gangster supremo known as the Mexican. If he is ambivalent about his new found wealth, Fernand is positively nonplussed to discover that he has also inherited his benefactor’s daughter, Patricia. Unfortunately, not only does Fernand have to put up with the thoroughly modern Patricia and her nauseating boyfriend, but he also had to contend with the Mexican’s trigger-happy former employees, who are determined to make a claim.

What's left behind the scenes

  • The fight scene with Lino Ventura's character featured actor and stuntman Henri Cogan, who several years earlier, under similar circumstances, had accidentally broken Ventura's leg with a powerful blow. During the filming of this movie, Ventura punched Cogan in the face with all his might, saying, 'This is for my leg'.
  • The lead role was intended for Jean Gabin, known to audiences, in particular, from Jacques Becker's crime drama 'Touché-pas au grisbi' (1954) and Jacques Barrault's crime comedy 'The Revenge of the Simpletons' (1961). However, at the time, Gabin had a strained relationship with screenwriter Michel Audiard due to the crime drama 'Melody from the Basement' (Henri Verneuil, 1963), as Gabin believed that Audiard (who also became one of the screenwriters for 'The Gangsters') had given too much screen time to Alain Delon instead of him. Consequently, Gabin refused to film with Georges Lautner under the pretext that the director had assembled the crew at his own discretion (Gabin strongly disliked working with strangers on set). Instead, Gabin starred in Gilles Grangier's detective drama 'Maigret and the Gangsters' (1963).
  • The lead role was intended for Jean Gabin, known to audiences particularly from Jacques Becker's crime drama 'Touchez pas au grisbi' (1954) and Jacques Barrault's crime comedy 'The Revenge of the Simpletons' (1961). However, at the time, Gabin had a strained relationship with screenwriter Michel Audiard due to the crime drama 'Melody from the Basement' (Henri Verneuil, 1963), as Gabin believed that Audiard (who also became one of the screenwriters for 'The Gangster Uncles') had given too much screen time to Alain Delon instead of him. Consequently, Gabin refused to film for Georges Lautner under the pretext that Lautner had assembled the crew at his own discretion (Gabin strongly disliked working with strangers on set). Instead, Gabin starred in Gilles Grangier's detective drama 'Maigret and the Big heist' (1963).
  • Gaumont did not believe in the future success of the film—for a comedy of that era, its theme was somewhat too bleak, and the cast lacked A-list stars. The decision to film was made solely to avoid breaching contractual obligations to director Georges Lautner and several actors. To minimize financial risks, the project was made an international co-production involving filmmakers from Italy and West Germany; this is why the cast included Venantino Venantini from Italy, as well as Sabine Sinen and Horst Frank representing West Germany.
  • Paul Meurisse was invited for one of the roles in the film, but he declined due to health problems. He still appeared on screen in a scene referencing the films about the French secret service agent known by the pseudonym 'Monocle'.
  • The role of Fernand was offered to Lino Ventura, and he accepted it, although he initially had some doubts arising from the comedic nature of the character he was to play.
  • A key moment in the film is the scene where the aging gangsters drink moonshine in the kitchen. During their conversation, they reveal their hidden personality traits. Screenwriter Michel Audiard doubted the necessity of this episode, but director Georges Lautner insisted on its inclusion. He explained that the scene was a reference to his favorite John Huston crime drama, 'Largo Relish' (1948), in which old gangsters reminisce about the Prohibition era.

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