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Squeak-squeak

Squeak-squeak

Comedy · 1963

Léonard Monestier owns a large fortune, alas his wife Cynthia made a bad investment in a worthless oil concession. Far from letting this get him down, Léonard decides to find a sucker to buy this concession from him. Right on cue appears Antoine Brévin, a befuddled billionaire who is very interested in Léonard's beautiful daughter Patricia and would do anything to win her hand...

Movie details

Squeak-squeak

1963 Comedy 1h 26m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Léonard Monestier owns a large fortune, alas his wife Cynthia made a bad investment in a worthless oil concession. Far from letting this get him down, Léonard decides to find a sucker to buy this concession from him. Right on cue appears Antoine Brévin, a befuddled billionaire who is very interested in Léonard's beautiful daughter Patricia and would do anything to win her hand...

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Squeak-squeak?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Jean Girault

Written by

Jean Girault · Jacques Vilfrid

Louis de Funès

Louis de Funès

Léonard Monestier

Mireille Darc

Mireille Darc

Patricia Monestier

Roger Dumas

Roger Dumas

Paul Monestier

Jacqueline Maillan

Jacqueline Maillan

Cynthia Monestier, la femme de Léonard

Daniel Ceccaldi

Daniel Ceccaldi

Pedro Castelli

Christian Marin

Christian Marin

Charles

Guy Tréjean

Guy Tréjean

Antoine Brévin

Court is in session

Put Squeak-squeak on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.