A Pain in the Ass 4K 1973 Ultra HD 2160p

Story Movie

Killer Ralph Milan arrives in Montpellier to eliminate witness Louis Randoni, who is soon to testify in a trial against mafia bosses. Milan is a cold-blooded professional who never misses a shot. However, at the hotel, he runs into the hapless François Pignon, which significantly complicates the situation, since the simple-minded and annoying bore Pignon is capable of driving even a hitman with nerves of steel to the brink of madness.

Review 4K Movie

An assassination attempt was made on a certain Louis Randoni, a legal advisor in possession of valuable information, near his home in Paris. Fortunately for him, he managed to survive. However, to finish what they started and eliminate the obstacle that is Randoni, the mafia sends a professional hitman named Milan to take him out. Especially since the former official is planning to testify in court in Montpellier. But, as it turns out, carrying out this criminal plan is no easy task. The blame lies with Milan’s hotel neighbor, shirt salesman François Pignon, a loser and a brooding bore. The film begins rather coldly, as if detached, though quite effectively. But gradually, step by step, it unfolds and holds the viewer’s undiminished interest right up to the finale. A brilliant work by the master of French cinema, Francis Veber, tells the story of the clash between two complete strangers: the depressed chatterbox Pignon and the gruff, taciturn Milan. Starring Lino Ventura and Jacques Brel. You won’t get bored with them. Ventura is one of my favorite French actors. In this role, he was simply irresistible.

They say, “If you want to lose a friend, lend him money.” Here, it’s a little different: if you want to find a friend, try to kill yourself. No, no one tried to kill François Pignon; his wife just left him for another man. And here the law of compensation comes into play: if something is lost in one place, it is bound to be gained elsewhere. Some people want to be fuller, some slimmer, and some seek absolute solitude. But poor Pignon needs affection from anyone at all, even if it’s from this very hitman who saved him from death. This hitman, to his credit, took his neighbor’s emotions in stride. Naturally, given his “profession,” he had no choice but to avoid interaction. But the killer’s sensitive neighbor still diagnosed the patient: he needs a little kindness—that’s the film’s central theme. Sometimes circumstances drive us into a corner: our personal lives crumble, our dreams and aspirations shatter. But this unfortunate fact can hardly be considered a reason to take one’s own life. It’s not worth bottling up resentment and disappointment just because of a single divorce. You need to find the strength to let go of negative emotions, rather than looking for reasons for them to arise. The main thing is to understand: what used to be a priority is no longer one, and you need to get used to this or find other priorities, as the film’s protagonist, François Pignon, does. During one of his solitary time-outs, he finds a friend who only seems harsh and rough at first glance. It is this very person who, in some strange way, influenced the unfortunate man’s self-esteem. The first thing that catches the eye is the clear, solid direction and screenplay. The characters are so deeply developed that you forget one is a hired killer and the other a ridiculous suicidal man. And somehow, you gradually find yourself warming up to both of them, even though they lack any charm or ability to make you laugh. But the filmmakers never set out to make the audience laugh; if this is a comedy, it’s not the funniest one. The film’s main asset is its memorable characters. The film requires a bit of patience and thoughtfulness from the viewer; the gripping plot, filled with intense emotions, is bolstered by superb acting. The fact that the comedy doesn’t seem very funny doesn’t mean the filmmakers lack a sense of humor; it’s just that the characters are so complex that it’s not worth resorting to inappropriate jokes.