這個電影的一個最大的問題就是為了搞笑而搞笑了。里面的包袱抖得太明顯了，感覺這個電影就像是一個一個小品段子拼湊在一起形成的一樣，每段看起來都挺有意思，放在一起就味同嚼蠟不知所云了。這好像是法國喜劇片的特點(diǎn)，比如 警察與女兵，也是類似的套路，不過主題比較集中，也還算有趣。但這個片子涉及的前后歷史太長，故事的點(diǎn)也太多，幾乎每個點(diǎn)都涉及到了，異性關(guān)系，同性關(guān)系，納粹，民族主義，恐怖主義，殖民主義等等，凡是能寫上一筆的它幾乎都沒放過，這樣的風(fēng)格讓我這樣的觀眾就覺得比較混亂，不知所云，每個地方都有笑點(diǎn)，但到了最后，當(dāng)電影結(jié)束后，腦子里面對于整部電影的主題一片空白。也許這就是法國喜劇電影的特點(diǎn)。但也有不同，虎口脫險(xiǎn) 這部電影沒有涉及太多的政治熱點(diǎn)，在純喜劇的方面進(jìn)行了探討，再加上中文配音，精彩絕倫（不得不說，中文配音極大地增加了這部電影的喜劇特點(diǎn)，也許開羅諜影加了精心的中文配音以后會有不同）。當(dāng)然這是兩種風(fēng)格的喜劇，我還是偏向于純喜劇，對于情懷那些，有一些就好，太多了就倒胃了。

The first outing of THE ARTIST trio, French director Michel Hazanavicius’ second feature film, an 007 spoof based on the popular novel series penned by Jean Bruce, its protagonist is the French secret agent Hubert Bonisseur de la Bath codename OSS 117 (Dujardin), who is narrow-minded, feather-headed and a hardened skirt-chaser, but has a slick head of hair and optimal luck to land on his feet among silly international intrigues.

So this time he is assigned to Cairo (often stood in by Morocco) to investigate the disappearance of his fellow agent Jefferson (Lefebvre), liaised with the latter’s secretary Larmina (Bejo, grudgingly playacting a Middle East stock and stomaching most of 117’s racially insensitive remarks, until being inexorably overcome by 117’s irresistible potency), he runs afoul of a series of multinational (British, Russian, Belgian, German) espionage, as well as clashing with the local Egyptians, from authority, factional radicals, to the royal princess Al Tarouk (Atika), who just cannot get enough of him, nudge nudge.

Unashamedly ethnocentric, and deficient in intelligence, logic and sensibility, fortunately the film boasts the winning appeal of its star, Jean Dujardin confidently chaperones us through 117’s escapade with his beaming smile, pervasive swagger and faux-na?f blarney, sprinkled with small wonderment: ribbings on 117’s sexuality and the flashback of his beach side bromance never fails to delight, a fez-worn music number of Dalida’s BAMBINO in Arabic ebulliently epitomizes the picture’s frothy nature, to say nothing of its clever opening title sequences paying homage to Saul Bass. OSS 117: CAIRO, NEST OF SPIES shows Hazanavicius’ competence in his craftsmanship, but whether one will find it intoxicating or fatuous squarely depends on your Gallic humor quotient.

referential entries: Hazanavicius’ THE ARTIST (2011, 8.4/10); Guy Hamilton’s GOLDFINGER (1964, 6.3/10); David Kerr’s JOHNNY ENGLISH STRIKES AGAIN (2018, 6.0/10).