This superb Le Père Noël Est Une Ordure Poster will bring back good, funny and warm moments from this classic French comedy!
- Paper Feature:
- 🎨 Canvas: global standard in terms of printing and imitating a “painting canvas” look.
- By default, the poster contains a 4cm white border for framing (frame not included). If you don’t want it, please choose “without white border”.
- ✅ Size: Multiple choices available. ✅
- High UV resistance.
- Color vibrancy maximum, glare-free.
- Paper recycled, guaranteeing environmental friendliness.
- Poster packaged carefully and delivered in a protective tube for Total protection.
- FREE STANDARD DELIVERY.
⚠️ Frame not included. ⚠️
Description of this Santa Claus Is a Bastard Poster
“Santa Claus Is a Bastard” is a 1982 French film, a slapstick comedy. It is based on a play by Le Splendid.
Paris, Christmas Eve. On Christmas Eve, two people are at the helpline office, located in a building: Pierre (Thierry Lhermitte), a pedantic employee, and Thérèse (Anemont), a typical “grey mouse” secretly in love with Pierre. Marie-Ange Muscan (Josiane Balasco), the head of the department, a serious and “correct in every way” lady, is stuck in an elevator outside the office and tries in vain to get help. Josette (Marie-Anne Chazelle), Teresa’s pregnant ward, who is fleeing the wrath of her roommate Félix (Gérard Juneau), is due to arrive at the office. Félix is a classic bum, who lives off occasional small gains and petty theft (he notably advertises at a strip club dressed as Santa Claus). Pierre, out of pity, has allowed one of the service’s clients, a transvestite named Catier (Christian Clavier), to come to the office in person, contrary to the service’s rules—assuming that he would calm him down with a few minutes of conversation. Periodically, downstairs neighbors show up at the office, including Mr. Preskovic (Bruno Moano), an immigrant from the land of “victorious socialism” (presumably Bulgaria), who cooks unusual dishes with an unappealing smell and taste—dubitsha and klug, surprisingly hard, heavy, and nauseating. The atmosphere is heated by the incessant calls of an unsuitable client (Michelle Blanc), who tries to get the helpline staff to imitate a sexual act over the phone. Eventually, they gather around the office Christmas table: Pierre, Thérèse, Josette, “Katia,” and the shy Preskovic with his “clug.” Suddenly, Felix bursts in, demands that Josette go home, is scandalized, and opens fire. The victims are “Katia” and the electrician who came to repair the elevator (which is already working). The sight of the wounded and murdered provokes a fit of silent hysteria in Teresa, accompanied by shivers and a loss of control over her behavior—which leads her to no longer hide her secret sympathy for Pierre and to behave in an unexpectedly liberated manner. For their part, Felix and Josette discuss just as easily and nonchalantly ways to dispose of the remaining corpse; the “clever” Felix, to Josette’s great joy, proposes “witty solutions” one by one: dismember the corpse and throw it into the Seine; or feed it to the animals at the zoo, etc. In the finale, all the participants, led by Felix, attempt—partly successfully—to implement his “clever plans.” Finally, Teresa and Pierre attempt to leave on the morning bus, and the inevitable revelation of the clumsy attempts to cover up what happened is not integrated into the plot.