Mon gosse de père: Adolphe Menjou is a total mess in this 1930s comedy

You should probably only watch this if you have a thing for Adolphe Menjou’s mustache or early French talkies. It’s a movie for people who don't mind a bit of static in their audio and a lot of stagey arm-waving. 🎺

If you’re looking for something fast-paced, move on. This thing moves at the speed of a tired turtle.

The whole plot is basically a role reversal. Menjou plays this dad who has been away, and he comes back to find his son is a super serious, almost depressing young man.

It’s funny because the dad is the one who wants to stay out late and cause trouble. The son just looks like he needs a long nap and a tax audit. 😴

Menjou is, as always, very dapper. He has this way of wearing a tuxedo that makes it look like he was born in it, even when he's playing a total flake.

There is a scene in a restaurant that feels like it lasts about three years. The background noise is so loud it almost drowns out the actors, which was a common problem back in 1930 when they were still figuring out how microphones worked.

I noticed a small detail in the son’s apartment—there is a stack of books on a side table that looks like it’s about to fall over in every shot. I spent half the scene waiting for them to hit the floor. They never did.

Alice Cocéa is also in this, and she’s got a great screen presence. She has these sharp, observant eyes that make her seem like the only person in the movie who knows how ridiculous everyone else is being.

The pacing is pretty clunky. It reminds me a bit of the awkwardness in The Bashful Lover where you can tell the actors are waiting for their cue to speak because of the early sound equipment.

Cinematic perspective: Exploring the visual vocabulary of Mon gosse de père (1930) through its definitive frames.

There’s a moment where a character spills a drink, and the reaction is so delayed it becomes accidentally hilarious. It’s like they had to wait for the sound of the glass hitting the floor to register before they could move.

I wouldn't call this a masterpiece or anything. It’s more like a curious little artifact of a time when movies were trying to find their voice, literally. 🎙️

If you’ve seen La bataille, you know that French cinema from this era can be hit or miss. This one is a light hit, mostly because of the charm of the leads.

The ending is very abrupt. It’s like the director just decided they had enough footage and stopped filming mid-sentence.

It leaves you feeling a bit confused, but not in a deep way. Just in a "wait, is that it?" kind of way.

Still, it’s better than some of the other stuff from that year like Vidocq which feels way more self-important. *Mon gosse de père* at least knows it's a bit of a joke.

Don't expect much from the supporting cast. Most of them just stand around looking confused while Menjou does his thing.

It’s a movie that really, really likes its own dialogue. Even when the dialogue isn't that great.

Anyway, watch it if you're a completist for 1930s comedies. Or if you just want to see a very nice suit. 🧥