Creator / Louis de Funès

Louis Germain David de Funès de Galarza (1914-1983) was a hugely popular French comedian and actor who played in more than 150 movies. He is still very beloved and famous in the francophone world and Continental Europe in general.

Once he started getting successful past the age of fifty — after a lengthy career of minor and mostly ungrateful roles —, De Funès always played the same character: a hyperactive, self-important, stubborn and unsympathetic little man who often threw himself into temper tantrums and made amusing facial expressions and nervous tics (he said he modeled his screen persona after Donald Duck, so go figure).

He is probably best known for his role as Gendarmerie officer Ludovic Cruchot in Le Gendarme de Saint-Tropez (1964) about a local military police force in the South of France, which spawned six films in total between 1964 and 1982. English-speaking audiences might recognise him as the star opposite Bourvil in the film La Grande Vadrouille (1966, released as: Don't Look Now! We're Being Shot At). Among his most loved films are Le Corniaud (The Sucker, 1965), Le Grand Restaurant (1967), Oscar (1967), Les Aventures de Rabbi Jacob (The Mad Adventures of Rabbi Jacob, 1973) and L'Aile ou la cuisse (1976) with Coluche. Among his lesser-known films is Jo.


  • Angrish: A common gag for his characters when stressed out is to speak gibberish.
  • Beam Me Up, Scotty!: In Germany, he is often attributed to having the catchphrase "Nein? Doch. Ohh!" ("No? Yes. Ohh!"), representing the quick jump from being confused to understanding to being shocked by an observation in the time of a few seconds. However he never says all three words himself, but it's actualy part of an exchange and it only ever appeared in the movie Jo. Nevertheless, in Germany it's often refered by a single person saying all three words and often thought to appear in many of his movies.
  • Combat Pragmatist: His characters rarely have to tussle at all except in the most comical way, and are generally portrayed as physically inept, but also big fans of dirty moves like the foot-stomp or the eye-poke.
  • Comical Overreacting: Another of his trademarks.
  • Critical Dissonance: invoked He was despised by French critics most of the time, because of Comedy Ghetto. It didn't prevent him from being one of the most successful and beloved French actors of the 20th century.
  • Directed by Cast Member: L'Avare is the one movie he both directed and starred in.
  • Disguised in Drag: A few times, notably at the start of L'Aile ou la cuisse, as a Spaniard Grande Dame in Delusions of Grandeur, as a nun in Le Gendarme et les extraterrestres or as a policewoman in Le Gendarme et les gendarmettes.
  • Everyone Has Standards: He rejected every movie project where his character would cheat on his wife.
  • Greed: A common trait of his characters — including Harpagon himself in Molière's The Miser — to better mock it.
  • Ham-to-Ham Combat:
    • In a mythic scene for French cinema, the dispute between de Funès's character Jambier and Grandgil (Jean Gabin) in La Traversée de Paris. The script required for Gabin's character to be as loud as possible; Gabin was a living legend and de Funès was not the King of French Large Ham yet. Nevertheless (and despite being visibly intimidated), de Funès held his own, and was noticed by a lot of people. Bonus point for the argument involving literal ham.
    • De Funés and Gabin were reunited in the movie Le Tatoué, and most of their interactions there are Ham-to-Ham Combat.
  • In-Series Nickname: His character (in Le Gendarme series and other movies) always nicknames his wife "Ma biche" (literally: "My doe", another word for "Honey").
  • Jerk with a Heart of Gold: In La Grande Vadrouille and The Mad Adventures of Rabbi Jacob. And approximately half of his roles.
  • Large Ham: The Patron Saint of this trope for French comedy.
  • Lovable Coward: In most of his roles, despite his grandstanding, he's prompt to cower when confronted with someone outranking or physically dominating him.
  • Mean Boss: Any of his characters in a position of power.
  • Milking the Giant Cow: His characters are chewing the scenery with moves too.
  • Mob-Boss Suit Fitting: Played for Laughs in L'Aile ou la Cuisse, where the temperamental director of a restaurant guide is dictating a review of an establishment while a tailor is taking his measurements for a new suit. Of course, as he walks along dictating, he drags the poor tailor all around the office.
  • The Napoleon: Small, bossy and short-tempered: about all his characters.
  • Nervous Wreck: Again, most of his roles. He toned it down after his heart attack in 1975.
  • Odd Couple: With Jean Gabin in Le Tatoué, Claude Giraud in The Mad Adventures of Rabbi Jacob, and Bourvil in La Grande Vadrouille.
  • Paper-Thin Disguise: About any time his characters are disguised in a movie, it's this trope. There's just no way his highly recognizable face, not to mention his Character Tics, could go unnoticed (especially when in drag), and yet other people are fooled. Rule of Funny in application, of course.
  • Production Posse:
    • He frequently worked with directors such as Gérard Oury (4 movies) or Jean Girault (12 movies in total, including the six Gendarmes).
    • He was also frequently paired with the same actors, even in unrelated films:
      • Notably, Robert Dhéry, Michel Galabru, Paul Préboist, Jean Lefèbvre and Maurice Risch as a Foil or Bumbling Sidekick.
      • Most specially, Claude Gensac played his wife in seven movies, including three times in Le Gendarme series. And she still had minor roles in three others: L'Aile ou la cuisse, L'Avare and La Soupe aux choux.
      • His two highest-grossing movies (Le Corniaud and La Grande Vadrouille) were with another French comedy superstar, André Raimbourg, better known as Bourvil. (They also played together in La Traversée de Paris, where De Funès had a small role.) La Folie des grandeurs (Delusion of Grandeur) was planned to be their fourth together, but it was derailed by Bourvil's death. Yves Montand took his place after his wife Simone Signoret told Gérard Oury about him, and the whole story was rewritten to match differences between Montand and Bourvil.
  • Professional Butt-Kisser: Many of his characters (especially Cruchot in Le Gendarme series) are prone to this with their superiors — while being odious to their underlings.
  • Mean Character, Nice Actor: He was a nice, soft-spoken, reserved person in real life.
  • Saying Sound Effects Out Loud: Another part of his comedic routine, he often used it to hilarious effect.
  • Spotlight-Stealing Squad: Inevitable when he is cast in a supporting role. The most blatant case has to be his role as Commissioner Juve in the Fantômas trilogy.
  • Star-Making Role: De Funès' small role in The Trip Across Paris, facing big-stars Bourvil and Jean Gabin, is considered to be the beginning of his rise to stardom.
  • Type Casting: De Funès starred in dozens of comedy films and always played the same role, or close.
  • Ugly Guy, Hot Wife: Each time he was paired with Claude Gensac in a movie.
  • Unsympathetic Comedy Protagonist: Many of his roles were this; he kept the sympathy of the public by the amount of catastrophes befalling on him — and sometimes also learning An Aesop by the end of the movie. The best example has to be Victor Pivert in The Mad Adventures of Rabbi Jacob.
  • What Could Have Been:
    • Louis de Funès was planned to take the role of Grand Vizier Iznogoud in a movie before his untimely death.
    • He was supposed to play a South American dictator in The Crocodile, directed once more by Gérard Oury. Two consecutive heart attacks prevented the filming.
    • He was also about to play in Papy fait de la Résistance when he died. His role went to one of his fellow comedians, Michel Galabru.