“When I’m happy…”: You obviously know the end of this line, spoken 30 years ago in this famous French comedy.

Come on, here’s a little game: complete the title of the iconic line, taken from a great French comedy classic, with a (very) absurdist twist! Where are we going?

The answer to be discussed begins “When I’m happy…” And ends…? What does this character do when he is happy? is he laughing He is dancing ? He eats ? Well, you’ve already found it, and you know that when Simon Jeremy is happy, he’s doing something less fun than laughing, stretching his legs on the dance floor, or eating because he’s … puke!

“When I’m happy, I receive” Obviously one of the many cult copies of the comedy City of Fear, which hit theaters in 1994 and is led by an irresistible troupe of Dummies. And the person who delivers this amazing sentence (and looks delighted every time) is Dominic Farrugia.

Below is the scene city ​​of fear Taking place in the car where the actor Red is dead He is happy and… you know the rest!

We do not present anymore city ​​of fear, a delirious comedy of dummies. A little classic of absurd humor heavily influenced by ZAZ (there are series…), a feature film by Alain Chabat, Chantal Laub and Dominic Farrugia Three decades (!!) after its release, it enjoys an indestructible cult status.

In An interview given in 2019 to our colleagues at TéléramaCharles Gasso enthusiastically responded to this “Crazy Project”. “This movie was a lot of things at once, and that’s its strength.”– said the producer. “It was definitely a movie for cinephiles, but without taking itself too seriously, without the glamor of the word ‘cinephile’, so we were on the same wavelength.

“city ​​of fear It became a cult film because it was anti-everything: anti-traditional comedy, anti-parent, anti-society, anti-dumb films, even”Gasso continued, still for Télérama. “But he was also generous, family-oriented, anti-nothing! So completely crazy. This is a film without an equivalent. Les Nuls invented a new box in comedy.”

city ​​of fear Triumphantly received by the public, almost 2.3 million viewers in theaters. In doing so, it proves that the transition from the small to the big screen is not necessarily a foregone conclusion, and that it is entirely possible to combine comic ambition with popular success.

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