Delicatessen (Special Edition)

You probably know him best for "Amelie" and "A Very Long Engagement," but Jean-Pierre Jeunet did an entirely different kind of comedy in "Delicatessen," a wicked black comedy that deals with... um, cannibalism. It's a twisted, dark story populated by the oddest characters that the writer could possibly have imagined -- and man, is it funny.

It's the postapocalyptic future, where food is so scarce that grain is used as money, and meat is completely gone. The setting is an apartment building run by a local butcher (Jean-Claude Dreyfus), who feeds his tenants in an unusual way: he hires assistants, then turns them into tomorrow's din-din. His newest assistant is the gentle vegetarian ex-clown Louison (Dominic Pinon).

But the butcher's plans get thrown for a loop when his cello-playing daughter Julie (Marie-Laure Dougnac) falls for Stanley and (unsurprisingly) wants to save her love from a fate worse than entrees. So she contacts the vegetarian resistance, the Troglodytes, and tricks them into invading her father's house, on the night when he plans to slaughter Louison.

Okay, let's get this straight: cannibalism is not funny. But comedies about cannibalism CAN be very funny, if done well. And "Delicatessen" manages to be a funny comedy in the tradition of Terry Gilliam, with the warped direction, surreal direction and strange settings. What was later precious in "Amelie" is weirdly ominous here... not that that's a bad thing.

It's also a challenge to create such a dark, bleak setting and somehow inject offbeat comedy into it. For example, one sex scene is juxtaposed against various activities (carpet beating, cello playing) -- all in the same rhythm. It's a moment of pure comic skill. But at the same time, Jeunet slips a bittersweet love story into the middle of the strangeness, relying on Pinon and Dougnac's strong chemistry.

The oddities of the characters are what take this dark comedy to the next level: a tough postman; a pair of brothers who make "moo" boxes, and an aristocratic old lady who goes to great -- and unsuccessful -- lengths to kill herself, Rube Goldberg-style. Julie and the innocent Louison are a bright spot, but the Troglodytes are a bit over-the-top. Really, must they be THAT dumb?

"Delicatessen" is an acquired taste. Okay, now that I've got that out of my system, here's the real end of the review: Jean-Pierre Jeunet's dark comedy is a bit hard to swallow at first, but the wickedly funny characters and offbeat script will win you over.

I heard about this movie when a filmographer who was a contestant on Jeopardy declared that it was his favorite film. I had to check it out and I'm not sorry that I did. It is weird and funny and made in a way that the French are so good at. It won't be everybody's cup of tea but if you like quirky, off the wall characters and a story line that is beyond belief, then this movie is for you.

If there is a Hollywood director closest to Jeunet, then it would have to be Tim Burton. Domnique Pinon's character brings to mind a French version of Edward Scissorhands or Ichobald Crane from 'Sleepy Hollow'. The out of place new guy who's blatantly unaware of the machinations that lie behind the faces he sees. In 'Delicatessen' Jeunet spends a lot of time focusing on faces and you get the feeling that it must have been a lot of fun casting this film. Each actor seems to have been chosen as much for their extraordinary face as for their acting abilities. Not a frame is wasted as every facial tick bears with it the same intensity of expression as every action sequence.

Like Burton, Jeunet also came to film direction through animated shorts and it's this animated sensibility that has given him the discipline and vision to create truly amazing live action films. Which is one of the main reasons why this subtitled film seems to be such a success with American audiences. It thrives on that most American of cinematic sensibilities, a heightened sense of unreality. Most European movies prefer to dwell on the emotions that lurk beneath the mundane aspects of everyday life. Not so stateside where such an elevation of the ordinary is met with the Homeric cry of "Bo-ring!" It's not surprising then that European directors such as Jeunet and Pedro Almodovar will continue to have success across the water as long as their fantastical and colourful stories glitter bright in the land that likes to dazzle.