INCORRIGIBLE -- At the West End Circle.

The lovable con artists of movieland are all alike -- or perhaps they just get their lopsided smiles, their devilishly jaunty walks, their silver sports cars and their shoulder pads from the same supplier.

Duly outfitted with this equipment, Jean-Paul Belmondo romps through the French comedy "Incorrigible" performing a variety of appropriate antics, such as renting a rich admirer's house out from under her and selling whatever he can find on the French landscape to serve as a Brooklyn Bridge.

Except for being consistently audacious, which looks wearing, he is just the hero required for this still-serviceably funny theme. But there are two lightly sketched characters in Philippe de Broca's picture, either of whom could have been developed to make "Incorrigible" as original a variation on the con artist story as "Dear Inspector," with its marvelous middle-aged heroine, was on the standard detective movie.

Both of these are also con artists, but with unexpected exteriors: Genevieve Bujold, who glows with earnest girlishness, and Julien Guiomar, who looks like a messy Oscar Wilde. Neither role -- even though one is that of the romantic heroine -- is allowed the time or attention to exploit fully the humor of these contradictions; no preparation is made for the surprise of her being more complicated than she has seemed, and he is not supplied with the background for being a major character.

It's impressive to see such interesting parts just tossed into a film about someone else, and it gives the picture ffreshness.

But what a pity it is that a whole fresh picture wasn't done from that material, instead of another version of the standard item.