
La llamaban la madrina
1973

1964
Director
Jacques Poitrenaud
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
Marcel and Francis are busy people. Marcel owns a café and spend all his nights running from meetings to meetings with members from the high society... at least, that's what he say to his barman! Francis leaves his home, loving wife and adorable daughter, frequently to attend meetings and demonstration with customers. His boss trusts him so much that his agenda is always full... at least, that's what he say to his wife! In fact, Marcel and Francis' incomes come from their night job: thieves! Here at least, they are professional. Troubles arise when, during one robbery, they encounter a young, high-pitched voice, candid girl who takes the decision to become their associate in crime... for the fun!
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks any evidence of LGBTQ+ characters or non-cisnormative identities. The narrative focuses on the heteronormative domestic lives of the male protagonists.
Gender Representation
Agency is primarily held by the male leads, Marcel and Francis. While a young girl joins their criminal activities, she appears more as a whimsical disruption than a structural subversion of patriarchy.
Racial & Ethnic Diversity
The cast reflects a homogeneous social environment typical of 1964 French comedy. There is no evidence of racial blending or a multicultural landscape within the setting.
Religious & Cultural Diversity
The story explores social deception and class pretension rather than religious or systemic critiques. It focuses on individual character comedy within a localized social framework.
Disability Representation
There is no mention of characters with physical, sensory, or neurodivergent disabilities in the narrative.
Strengths
Areas for Improvement
AI Analysis
The film operates as a conventional mid-century comedy, relying heavily on established social hierarchies and traditional gender roles. While it provides a lighthearted look at social pretension, it does not attempt to challenge systemic power dynamics. The narrative is centered on the male protagonists and their domestic deceptions. While the introduction of a female character adds a new dynamic to the criminal duo, the film remains rooted in the era's standard tropes. Overall, the work lacks intersectional depth, presenting a homogeneous social world that reinforces the status quo of 1964 rather than subverting it.

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