Delicatessen

In the late 70s, french director Jean-Pierre Jeunet and designer Marc Caro met and found they shared a lot of interests in the visual arts, their friendship soon became an artistic team that would spent the whole 80s making short films where the duo was able to explore and master the cinema language, perfecting their storytelling abilities and visual design skills, preparing themselves to make a career in film-making. Their efforts were crowned in 1991, when they were finally able to take their craft to a full feature length film, in the project that would become their breakthrough in the film industry and the proper beginning of their careers as filmmakers: the post-apocalyptic comedy "Delicatessen".

The world of "Delicatessen" is a dark bleak France where there is apparently no law and food is incredibly sparse (and is now used as currency). In this post-apocalyptic world, the residents of an apartment building in the middle of nowhere have found a solution to the hunger thanks to their landlord, the butcher Clapet (Jean-Claude Dreyfus), who from time to time kills the building's handyman to feed the bizarre group of tenants. One day, former clown Louison (Dominique Pinon) arrives to the building and gets the handyman position, but unfortunately for Clapet and the other tenants, the butcher's daughter Julie (Marie-Laure Dougnac) has fallen in love with Louison, and will do whatever is necessary to stop the madness of the delicatessen.

Written by Gilles Adrien (who also wrote many of the previous Jeunet & Caro shorts) as well as Jeunet & Caro themselves, "Delicatessen" is a wonderfully imaginative tale of sweet romance and hilarious black comedy that gives an unexpected light-hearted twist to a plot that most writers would treat as a serious subject matter. And surprisingly it works, as while the story is anything but complex, the assortment of strange (yet very human) characters that populate the world of "Delicatessen" truly become the movie's soul. And not only the main characters, as every single one of them (no matter how small the role is) is highly detailed and serves a specific function as if the whole building was one of the odd machines that still work in this post-apocalyptic portrait of France.

Visually, the film is simply sublime. Since the directors decided to divide responsibilities, Marc Caro took full control of the production design and the artistic elements of the movie, so with this freedom Caro's inventive artistic vision reaches new heights creating a movie that could be described as a moving canvas. Highly atmospheric, the french duo takes the cinematography (by Darius Khondji) to the next level mixing techniques and showing a whole range of influences that go from German Expressionism to 40s modernism, resulting in one of the most beautiful looking movies ever done. Still, the movie is more than a visual fest, as Jeunet (in charge of guiding the actors) shows a complete domain over his cast & crew keeping the many elements of the film working nicely in the right place.

As written above, the characters are the film's soul, and the ensemble of actors playing them really made a terrific job in the film. Dominique Pinon (who would become one of Jeunet's regular collaborators) delivers a subtle and charming performance as the ex-clown Louison. He is very believable in the role, and gives the character a very human touch, essential for the kind of character he is playing. The same can be said of Marie-Laure Dougnac, who plays Louison's love interest, Julie, one of the "more normal" characters in the movie. Jean-Claude Dreyfus as Clapet the Butcher is simply delightful as the story's "villian", and basically every member of the cast delivers an unforgettable performance no matter how long or short is their screen time (Silvie Laguna for example, is really wonderful).

"Delicatessen" is a solid debut by this two skillful french artists, and it already shows why the two quickly became an important team in the French fantasy cinema. Their very own brand of surrealist fantasy flows freely through the film making a unique visual fest (although it definitely goes a bit over-the-top at times), and while it doesn't reach the artistic level of their follow-up (the 1995 classic "La Cité Des Enfants Perdus"), it's still a nicely done movie that most importantly, never gets boring or tiresome. Unlike their later films, "Delicatessen" may not be for everyone, as it's mix of black comedy and surreal fantasy may seem at times too close to absurd to be enjoyable. However, those with a taste for the bizarre will find a great movie in this French comedy.

While "Delicatessen" still shows the excess of the young and raw talent of Jeunet & Caro, it's not hard to see why they became known worldwide after this initial success, as this movie shows the enormous potential of their skills as filmmakers. This brilliant mixture of genres is definitely a very recommended movie, and like "La Cité Des Enfants Perdus" ("City of the Lost Children"), an essential film of the 90s. 8/10

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.

Melding the perfect mixture of the visual grace of a silent film with a modern soundscape and bearing a twenty-first century post-apocalyptic sardonic sense of humor, Jean-Pierre Jeunet and Marc Caro's "Delicatessen" becomes one of the finest contemporary films.

This pitch black comedy delves into cannibalism and oddball romance in the same breath with equal gusto and therefore feels horrific, humorous, and haunting all at once. Every frame is a wonder of detail and originality that reinvigorates even the most jaded and long-time film viewer with the sense of rediscovering the art form. This is film-making in the highest regard worthy of praise, awe, and multiple viewings.

Jean-Pierre Jeunet has become famous recently for "Amelie" and "A Very Long Engagement". Before he became a cinematic household name in America, he and Marc Caro directed two of the most unusual movies that I've ever seen: "Delicatessen" and "The City of Lost Children" (he also directed "Alien: Resurrection", but that's another story). The former is not all that easy to classify. It has ex-circus clown Louison (Dominique Pinon) moving into an apartment where the butcher is cannibalizing people. While I did like it, I don't want to try to explain it any further, lest I give people the wrong impression of it. Granted, many people will probably want to avoid this movie; there are some pretty unpleasant scenes in it. But anyone who likes to look for artistic, surrealistic, or otherwise avant garde cinema should really admire "Delicatessen". Dominique Pinon, whom Jeunet always casts, is in top-notch form here.

`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.