This French film served as the basis for the 1987 American adaptation, “Three Men and a Baby,” and interestingly enough, both versions are quite enjoyable, though for distinct reasons. Roland Giraud portrays Pierre, an architect; Michel Boujenah plays Michel, a cartoonist; and Andre Dussollier is Jacques, an air steward—all sharing the same Paris apartment. Their carefree lifestyle takes an unexpected turn when Jacques’ previously unknown infant daughter is left on their doorstep with a note explaining her mother will be in the United States for several months working as a model. Jacques himself is located elsewhere, in the Far East. He had agreed to hold a package for someone, and Pierre and Michel mistakenly believe this baby, Marie, is it. The story mirrors the remake up until that point. The situation escalates when drug dealers arrive searching for their “package.” An exchange doesn’t happen, and the police begin tracking Pierre and Michel, suspecting them of possessing narcotics. Then, abruptly, about halfway through, Michel passes off what he believes to be heroin in a diaper to the dealer, and this plotline, which never quite worked in either film, suddenly concludes! There's no clever disguise, no hidden camera work, and no quirky detective involved. I found myself wondering how these characters would possibly continue their story. However, things then took on a darker tone. The mother, Sylvia (Philippine Leroy-Beaulieu), returns to reclaim her child. The three men attempt to resume their womanizing ways and drinking habits, but are instead overcome by an intense wave of sadness that felt almost debilitating; I genuinely considered seeking professional help. Michel and Jacques occasionally see the baby, making a conscious effort not to form a strong attachment. Pierre seems utterly despondent, lying in bed with a squeaky toy. While the initial portion of the film wasn’t as lighthearted as the remake, the latter half became overwhelmingly sad and depressing—a characteristic that unfortunately gives some foreign films a bad reputation. The baby is undeniably cute, but all the adults appear to be rather self-absorbed. A birthday party scene where superficial guests express disappointment that a child isn't "interesting" until they reach toddlerhood was intended as humor, but it proved uncomfortable to watch. Ultimately, the mother returns with the baby, and the men celebrate with dancing—a genuinely joyful moment I wished had been more prevalent throughout the film. It’s easy to understand why the remake emphasized the drug dealer subplot; can you imagine Tom Selleck looking utterly defeated, or Steve Guttenberg obsessively following the model mom? The female characters aren't portrayed favorably either, depicted as either sexual objects for the men or entirely selfish individuals focused solely on their own happiness and disregarding the child. "Three Men and a Cradle" was enjoyable but also clearly primed for an American adaptation. That remake proved successful, but it unfortunately led to a truly terrible sequel.

Source on TMDB