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Three Men And A Cradle

The movie tells the story of three bachelors who live in a luxurious Paris flat, where life is an endless round of parties and wenching. One of the three, a flight attendant, flies off to the Far East, telling his flatmates that a package will be dropped off for him.

Three Men and a Cradle

We know, of course, what will happen by the end of this movie. The men will fall in love with the baby. The mother will return. She will take the baby back. The men will miss her. There will be an emotional reconciliation, at which it is demonstrated that bird-brained bachelor heroin dealers have hearts of gold. I guess the three men, the mother and the baby are supposed to live happily ever after.

Meanwhile, in Three Men And A Baby, the men devise an elaborate plan which involves trapping the criminals in an elevator with the drugs in their possession for the police to find. This change to the story makes the situation more clear-cut by ensuring the bad guys are punished and the good guys are rewarded. The men even manage to record a tape that completely exonerates the three of them, and all of this action is accompanied by obligatory 1980s saxophone music.

Marie (and her three fathers) are taking A-levels. Marie passes. She spends the summer in the country with her mother, Sylvia, who has returned from America with her Californian husband who has two sons. Marie falls in and out of love for the first time in front of her alarmed fathers, who see Marie's innocence slipping away at frightening speed, and their relationships with the two women become even more complicated.

The Three Men and a Baby remake is officially happening at Disney+ in 2022. Zac Efron is attached to star. Not too many details are available, but it is believed that the reboot will be a modern take on the 1987 comedy, which starred Tom Selleck, Steve Guttenberg, and Ted Danson as three bachelors who suddenly have to take care of a baby. No other cast members have been announced, but that information will likely be available in the coming months.

No director for the Three Men & A Baby reboot has been announced either. However, with signs pointing to a modern remake, one can assume that there will be some large differences from the 1987 original. As to what those changes will be, that is unclear at the moment, but one can assume that a baby will be involved, along with three friends that are forced to take care of it. The original movie had a premise based on men not being able to take care of an infant without a woman.

The endings to the movies were different also. Whereas the French film did not specifically give details about the future of Marie, the American film told the audience that Mary and Sylvia started to live with the three men. The American movie wanted to give its audience a 'happy ending'.

The difference is in the way the actors respond to these unlikely situations. Keeping this in mind, it becomes clear how much more realistic the French movie is with respect to its culture. Much has already been said above, but one thing that wasn't mentioned much was how ridiculous it was that the American actors brought the baby to work seemingly every day. A cartoonist might be able to handle a baby working from home, but any actor or construction worker could tell you how impossible that is. Babies need to be changed and fed every few hours, and in particular feeding takes a long time because one must hold the baby's bottle. The three of them could not have gotten work done in this way.

On the other hand, the three men more realistically allotted time outside of work and made some sacrifices to be able to spend time with the baby in shifts. It was also more clear why Sylvia had trouble caring for the baby on her own in the French movie.

One of the most noticeable differences I observed was the difference in social attitudes towards three bachelors having the baby which is betrayed by some subtle changes in the storyline. For example, in the French movie, the dinner guests quickly get bored and irritated by Marie, seeing her as an intrusion upon their festive, carefree lifestlye. In the American version, however, we can see from the park scene that the young American women are enraptured with the cute baby: Mary is, in effect, a "chick magnet" for the guys. Also, in the French version, Jacques lady-guest gets annoyed and leaves when Jacques goes off to join the other men in singing Marie to sleep. On the contrary, when Peter leaves Rebecca in bed to sing to Mary, Rebeca finds this new development in his personality endearing, not intrusive.

Three men, who love luxury, women - when they don't stick around - and their freedom. Pierre, Jacques and Michel share a luxurious apartment. An airline steward, Jacques heads off to Japan for three weeks, leaving a message for his two buddies: "A pal is going to drop off a parcel and will pick it up later." Pierre and Michel are stunned to find themselves "nannies" to a baby left in a cradle on their doorstep. Is this the parcel Jacques was talking about? It's got to be. The adventure becomes even more complicated when a second packet is delivered. This annoying "surprise", a source of many misunderstandings, messes up their lives. These open and carefree men become suspects hunted by the police and... attentive and worried fathers!

“Boys will be boys…”The Sistine Chapel may have its famous frescoed ceiling, but it doesn’t hold a candle to the New York bachelor pad of Peter, Michael, and Jack (Tom Selleck, Steve Guttenberg, and Ted Danson) seen in the opening of 1987’s Three Men and a Baby. An epic tribute of another sort adorns their well-trafficked vestibule: a massive mural honouring this trio of charming cads and their philandering ways. Michael (Guttenberg) is certainly no Michelangelo, but as the film rollicks into high gear to the tune of Miami Sound Machine’s “Bad Boy,” we nonetheless find ourselves marvelling both at his technique and devotion to this overblown exercise in ego.Three Men and a Baby is actor/director Leonard Nimoy’s remake of the 1985 French film Trois hommes et un couffin (Three Men and a Cradle). In classic 1980s form, the movie kicks off with a montage designed to speedily introduce the three titular bachelors, their professions, and their questionable relationships with women, as well as preface their hilariously inept foray into parenthood. Montage is an editing technique nearly as old as cinema, and whether sped up (like here) or slowed down (think Rocky 2), the method truly reached high art during this era. Combined with Penelope Gottlieb’s title design – tall Art Deco-style typography and a bubbly title card which perfectly complement Michael’s mural stylings – and it all comes together to create an unforgettable opening, despite all the misbehaviour and chauvinism on opening of Three Men and a Baby is somewhat unusual in that it features credits for both the principal cast as well as their characters – the latter cleverly embedded as diegetic elements in the sequence. Nameplates reading “Designed by Peter Mitchell, Architect” and “Mural by Michael Kellam” effectively introduce Selleck and Guttenberg’s on-screen alter egos, while Danson’s Jack, though remaining nameless until the film proper, is established by way of his many trysts and one-night stands.When all's said and done the “Three Men” still have much to learn, but the film’s final shot provides a fitting bookend for its main

Cultural Awareness.The distinction between the roles that men and women play in this community conforms to many stereotypes, yet interestingly enough, captures the very essence of what can be learned when gender plays against those types. As the assuming standard goes, women, for the most part, are seen in many cultures as the nurturing figures of children; whereas men, to the contrary, are more or less the bread-winners of successful businesses. The women in this film conform to the stereotype of being overly sap-happy in regards to their interactions with children. For men, however, nurturing is not a fundamental component of their nature. Men, according to the stereotype, are rugged, adventurous, fearless and egocentric. Despite the traditional stereotype of men, this film expresses how those roles reverse. It gives new meaning to how men would instinctively respond when placed in positions of considerable moral obligation and sensitivity.As depicted in the film, three fun-loving yet humorously untrained bachelors are placed under a challenging position when an unknown baby girl swaddled in a cradle arrives unexpectedly at their door. The anxiety they express both through verbal remarks and fidgeting body language convey their conformance to the typical male response. In short, they are displayed as buffoons. They are not in touch with their child-like intuition and seem completely untrained for such a surprise. It's ironic though: on the one hand, they feel inadequate and unsure how to react; yet at the same time, their sense of moral obligation kicks in and they feel compelled to act responsibly. However, they refuse to surrender this new information to anyone (especially women). It's as if a breach in this information would be too challenging for their egos (something none of them are willing to sacrificeat least in the beginning of the film). As they begin to perform the obligatory duties of caring for the child, their love grows immensely for her and they seem to replace the traditional role of women as caretakers.Character Arc.I would like to amalgamate the three men in this film as the main character due to their similar dysfunctions and level of competence. In the beginning of the film, they all share an unsettling sense of clumsiness and naivety in regards to their reaction to the child at their doorstep. None of them know properly how to hold a child, change diapers, buy appropriate milk formula, and put the child to sleep effectively. However, as they rise to fulfill their moral duties in taking care of the child's needs, they discover that they do possess something far beyond any talent could afford. They possess the attribute of love. This love propels them to begin making sacrifices for the child beyond their own selfish desires. One of the men cancels a special date he had planned with his girlfriend; another postpones his cartoon drawings for his business. All of these small yet profound sacrifices demonstrate the men's love they have for the child. Even though they never seem very happy when caring for its needs (this due to the strenuous task it is to raise children effectively), the rewards of knowing how much they love the child is shown when their house gets broken into by drug addicts. The house is left in ruins, yet the only concern on their minds is to secure the safety of the child. This shows their extreme dedication to human life beyond what any material possession could afford them. Through practice, patience and time, the men learn how to cope with the situation at hand. At the end of the film when the real mother comes back to claim the child, all three men go through withdrawals (a symbol of their attachment). The withdrawals are all natural results of seeing how much time, energy and love they placed into raising the child. The maxim is fulfilled in their hearts, "Love knows not its own depth until the hour of separation." They have changed in the end, becoming more refined and sensitive. They have gained a new perspective through the things in which they suffered in knowing not only what love is, but also realizing their inner-strength of knowing how much weight is possible for them to bear. 041b061a72

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