Yo Yo
Brief Synopsis
Cast & Crew
Pierre Etaix
Pierre Etaix
Philippe Dionnet
Luce Klein
Claudine Auger
Siam
Film Details
Technical Specs
Synopsis
In 1925 a millionaire leads a solitary and lonely life in an enormous, sumptuous castle. Bored with his riches, he idles away the time playing yo-yo and yearning for his lost love, a circus rider who refused to share his gilded life. He hires a traveling circus to perform for him and discovers that the bareback rider is his lost love. Financially ruined by the stock market crash of 1929, the man joins the equestrienne and their son, the infant clown Yo Yo, in their circus act. Although they are happy and successful, Yo Yo dreams of someday restoring his father's castle to the splendor he vaguely recalls from his childhood. Following World War II Yo Yo resumes his career and becomes an international star of music halls, the cinema, and television. After spending a fortune on realizing his dream, he gives a huge party to welcome his father and mother back to the castle, but they refuse to accept his gift, preferring instead to remain with a touring circus. Aware that his life has become as empty and unhappy as his father's once was, Yo Yo gives up the castle and returns to his career as a circus clown.
Director
Pierre Etaix
Cast
Pierre Etaix
Philippe Dionnet
Luce Klein
Claudine Auger
Siam
Pipo
Dario
Mimile
Crew
Pierre Aubert
Jean Bertrand
Jean-marie Bertrand
Jean Boffety
André Bureau
Sylvie Carré
Jean-claude Carrière
Paul Claudon
Hélène Desse
Pierre Etaix
Roger Forster
Raymond Gabutti
Christian Guillouet
Jacqueline Guyot
Henri Lanoë
Guy Lecouvette
Jacques Lefrançois
Lucien Moreau
Jean Paillaud
Michel Suné
Tonio Suné
Raymond Tournon
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Articles
Yoyo -
Yoyo was released in France on February 19, 1965 and won two awards at the 1965 Cannes Film Festival: Best Film for the Youth and the OCIC Award, as well as being nominated for the Palme d'Or. But the film's confusing narrative and abstract comedy did not make it a success at the commercial box office and earned Étaix unexpectedly negative reviews, which affected the filmmaker greatly.
The negative reviews continued when the film was released in the United States two years later in February 1967. Bosley Crowther, critic for The New York Times wrote that Étaix was "marvelously talented. He is a master of subtle mimicry, and he plays all sorts of charming little incidents with great sensitivity and wit. [...] In scores of little details, he shreds pomposity and social arrogance to bits. But that's the trouble with his picture. It's too casual, fragmented, and loose. It's as though Mr. Étaix were writing his script as he goes along, tossing in scenes he remembers from somebody else's film, letting himself do something (he also plays several minor roles without taking credit for them) more to display his virtuosity than to develop a story and character. As a consequence, Yoyo is uneven. It dangles and has its ups and downs very much like the plaything from which its name is derived." Critics notwithstanding, Étaix later would claim that Yoyo was his own personal favorite of all his films.
While on vacation in Paris, Jerry Lewis saw Yoyo and wanted to meet Étaix, and Henri Langlois, the great film historian and preservationist, was able to bring the two together. Despite the lack of a common language, the comedians got on beautifully. Later, they would work together in the still unreleased but legendary Lewis film about the Holocaust, The Day the Clown Cried shot in 1972. Pierre Étaix died on October 14, 2016 at the age of 87.
By Lorraine LoBianco
SOURCES:
Cairns, David "The Return of Étaix" https://www.criterion.com/current/posts/2746-the-return-of-etaix
https://www.criterion.com/films/28454-yoyo
Crowther, Bosley "Screen: 'Yo Yo' Arrives: Carnegie Cinema Shows French Comic Film" The New York Times 1 Mar 67
The Internet Movie Database
Yoyo -
Yo Yo
Étaix also formed a long-running writing partnership with noted screenwriter Jean-Claude Carrière, the prolific scribe of several late-period Luis Buñuel films (including The Discreet Charm of the Bourgeoisie, 1972) as well as The Tin Drum (1979) and The Unbearable Lightness of Being (1988), among many others. The Étaix/Carrière team yielded some dazzling conceptual flourishes, many of which can be found in Yoyo (1965), arguably their most impressive achievement.
The story of Yoyo anticipates the time-leaping, format-switching techniques of Claude Lelouch as it spends its first third with a silent (apart from sound effects) B&W establishing tale and then bounces forward in time with the advent of sound, covering the dual stories of a father and son (both played by Étaix). First he plays a millionaire whose considerable riches can't buy him happiness, of course, at least until a circus arrives and brings with it the long-lost son whose mother had gone off to become a performer. After a stock market crash sends the lavish silent-era estate into a tailspin, the boy (Yoyo) grows up and begins to follow in his father's footsteps, trying to balance out the search of material wealth and the eternal quest for love.
The decision to mimic silent films with the entire opening sequence of Yoyo serves as a loving callback to the early cinema comics who strongly influenced Étaix, particularly Charlie Chaplin, Laurel and Hardy, and Harold Lloyd. The reliance on physical movement and graceful visual trickery with framing and props can be found in all of his features and shorts, with a surreal European flair that seemed to fit right at home in 1960s cinema. You'll especially see that here with the clever use of animals such as dogs and elephants as the mechanisms for sight gags so creative and unusual you'll wonder how this film could have flown under the radar for so long. Adding to the intoxicating atmosphere is the presence of real clowns, dancers, and circus performers, some of them captured here on film for the only time.
While Étaix remains the thespian centerpiece of the film, many film fans will recognize the beautiful actress who plays the central role of Isolina. A former Miss France, Claudine Auger had only appeared in a handful of films by 1965 (including an uncredited appearance in Jean Cocteau's Testament of Orpheus, 1960), but later that same year she broke through to international viewers as the lead James Bond girl, Domino, opposite Sean Connery in the massive hit Thunderball. From there she embarked on a steady string of films in Europe into the 1990s, balancing between prestige films like Jacques Deray's A Few Hours of Sunlight (1971) and Dino Risi's The Treasure of San Gennaro (1966) and wild cult items like Mario Bava's A Bay of Blood, Paolo Cavara's Black Belly of the Tarantula (both 1971), and the all-star actioner Summertime Killer (1972).
A critical success, Yoyo was hailed as "the kind of film that only comes along every ten years" by André Lafargue, who also praised it as "the best of Linder, Chaplin, while also being a deeply original work in its own right, with an exceptional rigor, drollery and tenderness." The film was the follow up to the first Étaix/Carrière feature, The Suitor (1962), and finds them refining their skills from their first two short films into the longer feature film medium. They followed this with three more: The anthology As Long as You've Got Your Health (1966), the romantic Le Grand Amour (1969), and the offbeat documentary Land of Milk and Honey (1971). Unfortunately they all became entangled in legal difficulties over the years that kept them out of the public eye, at least until a 2010 restoration effort was undertaken by the Fondation Technicolor and Fondation Groupama, who had earlier work on restoring Tati's films. When you watch Yoyo today, you may very well echo another of Lafargue's sentiments: "You will laugh. You will be moved. You will leave the cinema in a state of grace."
by Nathaniel Thompson
Yo Yo
Quotes
Trivia
Notes
Opened in Paris in February 1965 as Yoyo; running time: 98 min.
Miscellaneous Notes
Released in United States Winter February 28, 1967
Re-released in Paris October 23, 1991.
Released in United States Winter February 28, 1967