La Cage aux Folles

La Cage aux Folles (, "The Cage of Madwomen") is a 1978 Franco-Italian comedy film and the first film adaptation of Jean Poiret's 1973 play La Cage aux Folles. It is co-written and directed by Édouard Molinaro and stars Ugo Tognazzi and Michel Serrault.

Plot
Like the play upon which it is based, the film tells the story of a gay couple – Renato Baldi (Ugo Tognazzi), the manager of a Saint-Tropez nightclub featuring drag entertainment, and Albin Mougeotte (Michel Serrault), his star attraction – and the madness that ensues when Renato's son, Laurent (Rémi Laurent), brings home his fiancée, Andrea (Luisa Maneri), and her ultra-conservative parents (Carmen Scarpitta and Michel Galabru) to meet them.

Cast

 * Ugo Tognazzi as Renato Baldi
 * Pierre Mondy as voice of Renato (French release)
 * Michel Serrault as Albin Mougeotte/'Zaza Napoli'
 * Oreste Lionello as voice of Albin (Italian release)
 * Claire Maurier as Simone Deblon
 * Rémi Laurent as Laurent Baldi
 * Carmen Scarpitta as Louise Charrier
 * Benny Luke as Jacob
 * Luisa Maneri as Andrea Charrier
 * Michel Galabru as Simon Charrier

Box office
, La Cage aux Folles has remained the No. 10. foreign film released in the United States of America. The film was the second highest-grossing film of the year in France with 5,406,614 admissions. In Germany, it received 2.65 million admissions, making it the 11th highest-grossing film of the year.

Critical response
On Rotten Tomatoes, the film has a 95% rating based on 21 reviews, with an average rating of 7.82/10. The site's consensus reads: "La Cage aux Folles is a fine French-Italian farce with flamboyant, charming characters and deep laughs".

Roger Ebert gave the film three-and-a-half stars out of four and wrote that "the comic turns in the plot are achieved with such clockwork timing that sometimes we're laughing at what's funny and sometimes we're just laughing at the movie's sheer comic invention. This is a great time at the movies." Vincent Canby of The New York Times wrote in a negative review that the film "is naughty in the way of comedies that pretend to be sophisticated but actually serve to reinforce the most popular conventions and most witless stereotypes." Gene Siskel of the Chicago Tribune gave the film two-and-a-half stars out of four and wrote, "For me, 'La Cage aux Folles' was over soon after it began. It's all so predictable. This could have been a Luci & Desi comedy routine. The film's only distinctive quality is the skill of its veteran actors in working with tired material." Kevin Thomas of the Los Angeles Times called the film "a frequently hilarious French variation on Norman, Is That You? and has the same broad humor and appeal but has been put over with considerably more aplomb." Gary Arnold of The Washington Post panned the film for "stale, excruciating sex jokes" and direction that "has evidently failed to devise a playing rhythm to compensate for whatever farcical tempo the material enjoyed on the stage." David McGillivray of The Monthly Film Bulletin described the film as "a crude amalgam of Norman, Is That You? and John Bowen's play Trevor ... All shrieks, mincing and limp wrists, La Cage aux folles also looks positively antiquated beside the sophisticated gay comedy of such as Craig Russell."

Sequels
The film was followed by two sequels: La Cage aux Folles II (1980), also directed by Molinaro, and La Cage aux folles 3 - 'Elles' se marient (1985), directed by Georges Lautner.

Musical adaptation
The 1983 Broadway musical La Cage aux Folles based on the play and the film was also successful.

American remake
In 1996, an American remake titled The Birdcage, directed by Mike Nichols and written by Elaine May, was released, relocated to South Beach, Miami, and stars Robin Williams and Nathan Lane.

Adam and Yves
La Cage aux Folles caught the attention of television producer Danny Arnold, who in 1979 pitched the concept of a weekly series about a gay couple similar to the one in the film to ABC. His planned title was Adam and Yves, a play on both Adam and Eve and a slogan used by some anti-gay groups. After months in development, Arnold realized that the concept was unsustainable as a weekly series, which led to the show getting dropped.