Delicatessen

`The French,' said James Russell Lowell, `are the most wonderful creatures for talking wisely and acting foolishly that I ever saw.' And good old Henry Adams once said that what he disliked most about the French was their mind, their way of thinking. Why? Because, he said, the French were not serious.

France is not serious. It's an insult; and, it's a compliment. Once their proclivity for playing `Sidewalk Socrates' is understood, one can begin to enjoy them. Henry Adams loved Paris when he got past the surface: `France was not serious, and he [Adams] was not serious in going there.'

I say this by way of introduction to the French movie Delicatessen because, frankly, most French movies really bite. They have that bottom of the birdcage quality, which comes from trying too hard to be deep and philosophical, coming off as ineffably silly instead.

Delicatessen avoids all of that because it doesn't try to be serious. There's nothing pretentious about it. But it could be. It's an outrageously funny black comedy. Only the French, with the penchant for speaking wisely, and acting foolishly, could have pulled this off. It's almost a satirical caricature of French society as a whole.

Set in an apartment complex with a ground floor delicatessen, drifters check in, but don't check out – that is, until a former circus clown shows up. The owner's daughter and the erstwhile circus performer fall in love, throwing her father's brutally perfected supply `system' (fresh meat) all out of whack. The `process,' it seems, cannot tolerate exceptions to the rule, especially not such impractical sentiments as love.

Delicatessen has some outrageously comical setups. And best of all, the inhabitants are all laughable, each in their own way, from the murderous landlord, to his delicate little daughter named Julie. I won't spoil the fun for you by telling you any more. I urge you to find out for yourself.

Jean-Pierre Jeunet and Marc Caro crafted a near-perfect film in Delicatessen, an almost indescribably unique French comedy concerning cannibalism, troglodytes, a circus clown, myopia, suicide, and sex -- and it's all set following some kind of apocalyptic catastrophe. An extraordinary group of actors (with faces worthy of Fellini) play the desperate residents of an apartment where one's next meal could literally be the neighbor from down the hall. The elastic-featured Dominique Pinon, as the clown turned handyman, is a joy to watch. Delicatessen is packed with Rube Goldberg-style set-pieces (I especially love the fixing of the bed spring as well as the rooftop battle during the television broadcast) that leave you breathless.

This is a superb film. The look and design of the sets is unique and the narrative is certainly original!! I would place this film along with others like Being John Malkovich as it really did make me sit up and take notice. There are some truly great set pieces in the film particularly when the whole house starts to get into the same rhythm as the love makers on the top floor ( ripped off by an American Beer company I note in an advert ) and the botched suicide attempt too - hey I said it is darkly amusing!! I would say that there is not a weak performance amongst the cast in this evocative tale of futuristic cannibalism!! Basically, trying to describe this film makes it sound too bizarre but I highly recommend it to anyone who likes originality and their humour on the edge of darkness.

If you think the cannibal movie subgenre has been milked dry... think again! This one will have you from the opening credits. It's set in a crumbling apartment building in 21st century, post-apocalyptic Paris where food is at a minimum, grains are used as money and the butcher downstairs runs a black-market deli providing clientel with what seems to be the only meat product available, and it ain't chicken.

Dominique Pinon is an ex-circus clown who answers a personal ad doing odd jobs there and encounters assorted weirdos while being targeted as the main course. There's a noncomformist who eats snails and frogs, a band of grimy cave-dwelling looters, an unhinged woman whose botched suicide attempts are comic highlights and an amazing musical sequence featuring a cello, creaky bed springs, machinery, drills and other noises combining to create a symphony of sounds.

The oppressive atmosphere and murky brown color schemes could have easily turned this into a dreary disaster, but the directors keep it offbeat, surprising and clever throughout, and don't miss their chance to throw in some inventive black comedy.

Clever ideas and good notion of filmmaking are at the core of this movie, whose storyline is the smallest asset. But you won't really care when you see it, because even though the story isn't really elaborate, what you have here is one of the most original movies you'll ever get your eyes on. The setting is perfect, with no historic or geographic references, only an estranged building, which doesn't have a single straight normal tenant. The result is a magnificent work of actors, cinematography and set dressing, that makes the most of visual resources for a movie. The directors Jeunet & Caro show their true potential in this movie that will keep you glued with its naive-like comedy style, and its unique set of characters, which could generate a separate movie about each and every one of them. Magnificent, and truly original.