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Redundant and unnecessary.

hyped garbage

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

French director Yves Robert [1920-2002] has excelled not only as an actor but also a filmmaker who made intelligent comedy films. This is what makes him worthy of a very special status in the history of French cinema. After having directed several successful films based on famous books, it was in 1970s that he presented a fresh perspective to French comedy films by inventing what can be termed as a "Buddy Movie" genre. It focused more on the "sentimental misfortunes" of a group of men who are friends with each other and have blown 40 candles of their birthday cakes. In the second film of this genre called "We Will All Meet in Paradise", Yves Robert popped up a key question: How can some 40 years old men make time for themselves especially for offhand dalliances when they have children and wives at home ? The answer to his essential question is found in this film which is a good way to learn about the manner in which a homosexual person and masculine as well as feminine infidelities are treated by French people.Apart from dialogs and screenplay written by veteran screenwriter Jean-Loup Dabadie, Jean Rochefort,Victor Lanoux, Claude Brasseur and Guy Bedos shine as the film's real stars as they do their bit to enhance the value of their roles.Lastly,Josiane Balasko too has a minor role which has its own importance.

Un elephant, ca trompe enormement/Pardon mon affaire had been a box-office triumph two years before, so Yves Robert knew he had to reassemble the cast for one more go. All the weaknesses of the first film show up more glaringly this time: the gags just aren't that funny (the tennis match played with earphones to block out the jet noise, for instance)and the characterization remains sketchy; we never get a clear fix on Daniel's sexuality, or why Simon is so dependent on others.Jean Rochefort remains very skilled in portraying befuddlement--even when the script doesn't help him much--and he is always a pleasure to watch. Daniele Delorme, who was married to Yves Robert, is the real treasure in this picture. Her career as actress spanned three decades of steady work before she started a production company with her husband. Here she is a wonderful foil for Rochefort in their tense domestic scenes together; she's calm while he's agitated.