That was an excellent one.

Sorry, this movie sucks

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

An addicted relationship between a minor and a adult is still a controversial topic, and, from time to time, I am intrigued to see how such a "liaison" is depicted. As F. est un salaud includes a gay theme as well, there are "mandatory" topics of prostitution, mental issues and drugs, visible through a 25-y.o. and a 15-y.o. males, while the latter is performed by a 20-y.o. actor not looking younger... There are some brave scenes and good camera-work, but the film is primarily a record of young affection and obedience rather than a versatile depiction of characters evolving. Moreover, it leaves some issues unclear as well: was gay life in the 1970ies Switzerland really as open and easy? What about Beni's family when he began to live with Fögi? The ending was also hasty and without any surprise. As I was referred to this film from a film I really liked I had apparently higher hopes, but I have to recognise that F. est un salaud did not fully conform to my type of nature and values. But those fond of unconditional love and artistic lifestyle might squeeze more out of it.

This gay-friendly Swiss French film about a drugged-out punk singer who has an obsessive, dysfunctional affair with a 15-year-old boy groupie pushes the edge of the permissible and the believable and does not go anywhere but downhill, though it isn't without a certain sweetness. Deserves a tiny but special spot in the roster of drug and music films somewhere is a remote branch off from Velvet Goldmine and Sid and Nancy. More than that, it is courageous and tasteful in its straightforward and sexy treatment of man-boy love, and one can well understand that some viewers find it very special. Both of the principals are attractive, and Fögi may be a bastard, but he has a lot of charm as well.

Be warned--I cannot discuss this film without SPOILERS--so, consider this your friendly:****SPOILER ALERT****I picked up the DVD of this film--translated "Fogi is a Bastard"--having never heard of it and knowing nothing about it short of the cover plot description. This is usually a recipe for disaster and confirms my late Grandmother's favorite saying--"A fool and his money soon parted." And after reading some of the previous user comments you would thing that would be the case. But I think some of these people are wrong, wrong, wrong about this one. "Fogi" is one of the most stunning, mesmerizing and sexy, yet profoundly disturbing films I have ever seen about all-encompassing, unrequited love. The fact its main character is a homosexual 16-year-old boy only adds to the power of the picture.Played by the youthful and disarmingly attractive Vincent Branchet, Beni is a young schoolboy who falls under the spell of Fogi (Frederic Andrau), the lead singer of a local Swiss rock band. After he writes Fogi a love/fan letter, Fogi invites Beni to his apartment where they begin a puppy love affair with terrific, mutually satisfying sex. For Fogi, of course, it's just a casual, fun fling with a groupie he knows will do anything for him. For Beni, it's the real thing, a love so strong with sex so powerful you can literally feel the love and devotion for this guy taking over this young boy's soul to the point that nothing else in life matters beyond being with Fogi, whether it's in bed or tending to his every need. Fogi returns the favor by getting the poor kid hooked on drugs, leaving him alone for days on end and abusing him emotionally and mentally. Things begin to spiral out of control in this dangerous relationship when the band's gigs dry up and Fogi leaves town to make money by selling drugs, leaving Beni to mope around the apartment like an abandoned housepet. When Fogi finally returns, Beni is ecstatic--think of a military wife welcoming her husband home from war--but something is terribly wrong with Fogi, who has become hopelessly addicted to heroin and becomes increasingly abusive and cruel to his young lover in an attempt to get him to leave--which Beni refuses to do. Fogi then begins to literally treat Beni like a dog--having him crawl around the apartment naked, wear a dog collar, eat like a dog, sleep curled up on the floor like a dog, being washed like a dog. When this doesn't get rid of the kid, Fogi figures he might as well make money off of him and starts pimping him out to old gay men in the neighborhood, which Beni gladly does since, after all, he's in love.All of this, of course, leads to an appropriately tragic ending for Fogi, but on a hopeful note for Beni. The real power of this film lies in the last bit of dialog, where Beni actually believes he didn't love this jerk enough to save him from the inevitable and literally apologizes for not doing enough to save him! "Fogi is a Bastard" is one of the most truthful and appropriate titles to a film I have ever seen. And I can't say enough about the actors, especially Vincent Branchet who is so brave an actor he puts his young American counterparts to shame. This is a role in which he could easily look foolish yet he pulls it off--you understand what he does because he shows the depth of his irrational love. And Frederic Andrau also shines as Fogi--who really is a bastard. Kudos to director Marcel Gisler, who films all this in an ultrarealistic manner and manages to make a nearly one-set film unclaustrophobic. Ironically, I watched this film the day after watching "Attack of the Clones," which was one of the most joyless and mindless mishmashes I have ever seen. There may not be much joy in "Fogi," but at least it will make you think, and may scare a few teens into thinking twice about getting involved in inappropriate relationships with adults. **** (out of *****)

From the other comments {as of 2001 when I first wrote about this film here} you might think "Fogi is a Bastard" is a total loser film; but I think those others missed the boat on this one. It remains the #1 film I'd like to own on video, one that actually breaks new ground in examining a hot, if dysfunctional, gay love affair. For me, it was the best film at OUTFEST 1999; and even though as a film it probably is not a masterpiece, as a gay film it is so amazing and mind blowing that it has replaced "Law of Desire" (by Almodòvar), as my all-time favorite gay film. Vincent Branchet plays Beni, a schoolboy in 1974 Switzerland, who develops a crush on Fogi the notoriously gay lead singer/guitarist of a local punk band, "The Minks". They form a relationship which starts out as innocent puppy dog attraction with wonderful sex, and which devolves to heavy sado-masochism as Fogi descends into heroin addiction and starts hiring out Beni as a call-boy and treating the willing and cooperative Beni as his dog (too bad the more apropos title, "My Life as a Dog" was already taken). It sounds unpromising, I know. Yet the film is such an unsparingly realistic portrayal; the actors so outstanding (Branchet is both the most attractive young actor and one of the best actors period that I've seen in several years; and Frederic Andrau, who plays Fogi is no slouch, himself) that it all works. The film is beautifully shot in a realistic, gritty style with a very mobile camera which defies description (a scene where the characters have dropped LSD and the whirling camera is used as a metaphor for their internal state is simply stunning.) It is exciting and innovative film making, and the director Marcel Gisler is one to watch for. This is a film I would go back to see over and over if it were ever to get a release here.I finally got to see this film again on DVD in March, 2012; and the film has lost none of its power to shock and amaze. Twelve years have passed since I saw it, and still no other filmmaker has managed to make a gay themed dramatic film which so ardently and truthfully managed to capture the unvarnished essence of the sex, drugs and Gothic Rock gay culture of the '70s. This film might have been set in Switzerland; but it could have been set anywhere that gay people congregated in that pre-AIDS, post-Stones era. This film remains a milestone of the gay cinema and deserves its place in the canon.