Troubleshooters (1971) User Reviews (3)

might have turned out better

[wvisser-leusden · 7/10 · 12 August 2012]

This French film's title 'Laisse aller ... c'est une valse!' means something like 'Let go ... the competition is fierce!'. And yes: its plot is all about several parties, violently hunting after the same loot of stolen jewelery.

'Laisse aller ... c'est une valse!' is a crime-comedy, made in a typical lighthearted French style. It's also very 1970-s, resulting in a degree of improbability that may not be fully appreciated anymore.

A little astonishing is this film's setting in winterly Northern France. Thus adding a harsh touch, that at times obstructs its bottom lime of lightheartedness.

Whatever, this film is saved by its unwavering competent acting. In particular female lead Mireille Darc stands out, and not because she is one of the few women in this man's film.

la fin d'un genre

[TranDucMinh · 3/10 · 21 June 2005]

It's supposed to be witty but it is often languishing. It's meant to be funny but it's often thick.

Only a few dialogs can vaguely salvage this Turkey, a few lines by some seriously good actors; Bernard Blier is excellent, Jean Yann and Mireille Darc as well.

This movie is the end of a line born in the 50's, a line which had its days and its myths, a line which went into decadence in the 70's, with movies like this one. Mobsters are no longer funny, witty and amusing, the spoofs of "films noirs" became boring before they disappeared. This is the end of a world...

Considerable art goes into this entertainment

[Charlot47 · 11 December 2023]

Nicely rooted in the real France of 1971 and splendidly acted by the four principals, the crimes are treated as comic. All the baddies end up dead from a neat hole in the forehead, while the cop leading the chase switches sides to fly the loot to a Caribbean island paradise.

Between the three buddies there are enjoyable cross-currents and even, in the case of the femme fatale, twinges of conscience. Cameos include a teacher of English whose strangled speech is barely comprehensible and a lady next door who is overjoyed when questioning turns rough and begs for more.

By the élite, Lautner was seen as entertainment rather than art. In fact, considerable art goes into this entertainment: you get interesting locations, leads with some depth of character who are good to look at, and ever-lively dialogue. These things do not date at all.