{"id":992125,"date":"2026-01-23T15:06:05","date_gmt":"2026-01-23T12:06:05","guid":{"rendered":"https:\/\/www.wayanatapas.com\/?p=992125"},"modified":"2026-01-23T15:06:06","modified_gmt":"2026-01-23T12:06:06","slug":"1976dan-endustriyel-gida-elestirisi-kanat-mi-but-mu","status":"publish","type":"post","link":"https:\/\/www.wayanatapas.com\/en\/1976dan-endustriyel-gida-elestirisi-kanat-mi-but-mu\/","title":{"rendered":"Wing or Thigh? A 1976 Critique of Industrial Taste"},"content":{"rendered":"
\n

In the films of the 1960s and 70s, French cinema held a far more prominent place in our viewing lives than it does today. Among the great figures of French comedy, Louis de Fun\u00e8s stood at the forefront. Through characters such as Commissioner Juve in the popular Fant\u00f4mas series, he brought not only laughter but also a sharp, satirical view of authority and modern life.<\/p>\n\n\n<\/div>

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Released in 1976, L\u2019aile ou la cuisse (Wing or Thigh?) may appear at first glance to be one of de Fun\u00e8s\u2019s later, fast-paced comedies. Yet beneath its physical humor lies a surprisingly deliberate critique of modernization, industrial production, and the emerging idea of the \u201cmass production of taste.\u201d<\/p>\n\n\n\n

Charles Duchemin, played by de Fun\u00e8s, is the editor of France\u2019s most influential gastronomic guide. His reviews can make or break restaurants. But Duchemin does not see this power as a status symbol. For him, it is a responsibility: a means of defending what he calls \u201creal cuisine.\u201d Food, in his view, is not merely sustenance. It is labor, ingredients, locality, and cultural continuity.<\/p>\n\n\n\n

The story unfolds through Duchemin\u2019s confrontation with Tricatel, a fictional food conglomerate that supplies restaurants with frozen, standardized meals. Tricatel represents a new industrial kitchen model driven by efficiency, scale, and profit. To many, it looks modern and practical. To Duchemin, it is nothing less than a betrayal of gastronomy itself. As he attempts to expose the artificial mechanisms behind this system, the film reaches the heights of physical comedy while quietly posing a disarming question:
Are we eating food, or merely something that imitates food?<\/strong><\/p>\n\n\n\n

Duchemin\u2019s son G\u00e9rard (played by Coluche) introduces the human and social dimension of this conflict. While his father wants him to inherit the mission of defending haute gastronomy, G\u00e9rard remains distant from this elite culinary world. Their tension reflects more than a generational gap. It mirrors the friction between \u201chigh cuisine\u201d and everyday eating, between cultural prestige and ordinary life. It is here that the film becomes most interesting: it questions both refined gastronomy and mass consumption at once.<\/p>\n\n\n\n

By the final act, the artificiality of Tricatel\u2019s idea of \u201ctaste\u201d is laid bare. Yet the film never falls into a nostalgic call to \u201creturn to the past.\u201d Its message is more demanding and far more relevant:\n
If progress is built by erasing what is human, local, and rooted in labor, can it truly be called progress?<\/strong><\/p>\n\n\n\n

The People Behind the Film<\/strong><\/p>\n\n\n\n

Claude Zidi (Director)<\/strong>\n
\nOne of the most prolific directors of French popular cinema, Claude Zidi became widely known in the 1970s and 80s for comedies that reached vast audiences. What distinguishes his work is his ability to embed social observation within genres often dismissed as \u201clight.\u201d L\u2019aile ou la cuisse exemplifies this approach: entertaining, fast, accessible\u2014yet carrying a sharp cultural critique beneath the surface.<\/p>\n\n\n\n

Louis de Fun\u00e8s<\/strong>
An iconic figure of French comedy, de Fun\u00e8s is remembered for his exaggerated expressions, physical acting, and explosive nervous energy. But his true strength lies in how he embodies authority figures, small power-holders, and characters obsessed with order, exposing the anxieties of modern society. In films such as The Gendarme of Saint-Tropez, Fant\u00f4mas, and La Grande Vadrouille, he reached millions. Here, he treats gastronomy not merely as pleasure, but as a field of cultural identity.<\/p>\n\n\n\n

Coluche<\/strong>
\nColuche represents the most powerful voice of \u201cpopular\u201d humor in French cinema. His style, rooted in stand-up, is marked by directness and sincerity. As G\u00e9rard, he provides a grounded, worldly counterpoint to de Fun\u00e8s\u2019s high-energy performance, restoring social balance to the film and preventing its critique from becoming purely elitist.<\/p>\n\n\n\n

Reception and Relevance<\/strong><\/p>\n\n\n\n

Upon its release in 1976, the film was a major box-office success. Critical responses, however, were divided. Some dismissed it as a conventional de Fun\u00e8s comedy; others recognized its critique of gastronomy and consumer culture as unusually perceptive.<\/p>\n\n\n\n

Over time, L\u2019aile ou la cuisse has come to be seen not merely as a comedy, but as an early reflection on the industrialization of food. In today\u2019s world\u2014where fast-food culture, artificial flavors, mass production, and the erosion of local cuisines dominate global debates\u2014the film feels uncannily current.<\/p>\n\n\n\n

A Film About Food, or About Culture?<\/strong><\/p>\n\n\n\n

France is defined by a deeply rooted gastronomic tradition, one that integrates wine as an essential element of everyday cultural life. Wing or Thigh? is among the earliest films to question what is lost when culinary practice becomes industrialized.<\/p>\n\n\n\n

The scene we chose to share, naturally, is the rare moment in which wine enters the narrative. Yet the film as a whole reminds us, from nearly fifty years ago, of the cost at which transformation in the food system often comes.<\/p>\n\n\n\n

Claude Zidi, Louis de Fun\u00e8s, and Coluche are no longer with us. We remember them with affection\u2014and with gratitude for a film that still asks the right questions.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

1960\u2019l\u0131 ve 1970\u2019li y\u0131llarda izledi\u011fimiz filmler aras\u0131nda Frans\u0131z filmlerinin pay\u0131, bug\u00fcnk\u00fcnden \u00e7ok daha fazlayd\u0131. \u00d6zellikle Frans\u0131z komedilerinde kar\u015f\u0131m\u0131za \u00e7\u0131kan sanat\u00e7\u0131lar aras\u0131nda Louis de Funes ba\u015f\u0131 \u00e7ekerdi. Fantoma dizisi, Funes\u2019in canland\u0131rd\u0131\u011f\u0131 Komiser Juve karakteriyle farkl\u0131 bir polisiye kimli\u011fi kazanm\u0131\u015ft\u0131. 1976 yap\u0131m\u0131 L\u2019aile ou la cuisse (Kanat m\u0131, but mu?), ilk bak\u0131\u015fta Louis de Fun\u00e8s\u2019in son d\u00f6nem…<\/p>","protected":false},"author":2,"featured_media":992126,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-992125","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\n1976\u2019dan End\u00fcstriyel G\u0131da Ele\u015ftirisi: Kanat m\u0131 But mu? - Wayana Wine Bar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.wayanatapas.com\/en\/1976dan-endustriyel-gida-elestirisi-kanat-mi-but-mu\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"1976\u2019dan End\u00fcstriyel G\u0131da Ele\u015ftirisi: Kanat m\u0131 But mu? - Wayana Wine Bar\" \/>\n<meta property=\"og:description\" content=\"1960\u2019l\u0131 ve 1970\u2019li y\u0131llarda izledi\u011fimiz filmler aras\u0131nda Frans\u0131z filmlerinin pay\u0131, bug\u00fcnk\u00fcnden \u00e7ok daha fazlayd\u0131. \u00d6zellikle Frans\u0131z komedilerinde kar\u015f\u0131m\u0131za \u00e7\u0131kan sanat\u00e7\u0131lar aras\u0131nda Louis de Funes ba\u015f\u0131 \u00e7ekerdi. 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