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Title: Delicatessen (1991)
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| Cast overview, first billed only: | |||
| Pascal Benezech | ... | ||
| Dominique Pinon | ... | ||
| Marie-Laure Dougnac | ... | ||
| Jean-Claude Dreyfus | ... | ||
| Karin Viard | ... | ||
| Ticky Holgado | ... | ||
| Anne-Marie Pisani | ... | ||
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Boban Janevski | ... | |
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Mikael Todde | ... |
Young Rascal
(as Mikaël Todde)
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Edith Ker | ... | |
| Rufus | ... | ||
| Jacques Mathou | ... | ||
| Howard Vernon | ... | ||
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Chick Ortega | ... | |
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Silvie Laguna | ... | |
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The story is centered on a microcosm of a post-apocalyptic society where food is so rare it's invaluable and is used as currency. The story centers on an apartment building with a delicatessen on the ground floor. The owner of the eatery also owns the apartment building and he is in need of a new maintenance man since the original "mysteriously" disappeared. A former clown applies for the job and the butcher's intent is to have him work for a little while and then serve him to quirky tenants who pay the butcher in, of course, grain. The clown and butcher's daughter fall in love and she tries to foil her father's plans by contacting the "troglodytes", a grain eating sub-group of society who live entirely underground. The "trogs" are possibly the most sensible of the lot, as they see food as food and not money. Written by Anonymous
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Most commentors on this marvel at the imagination, the adventuresome cinematography and the mix of black and humor. I found these amusing, but hardly interesting.
What was interesting was how many ways the film explored human connection. Usually you get two: love (or some surrogate) and folded insight, connecting the movie to the viewer.
Here you have:
— eating one another and with each other — love of course, love in the romantic sense — sex (well, this is common too, but not usually divorced from love) — performing together (two ways) — conspiring together
You have connections themselves by radio, TeeVee, performing, pipes and chutes in the building (about which much is made), and a repeated set of Rube Goldberg suicide mechanisms. String, yarn, boomerang knife. Postal packages. None of these make sense unless you believe they were put there to make sense.
It is as if they decided first to make a film about connection, and then to place it in a threatening future, allowing filming tricks.
I'm glad this guy went on to make at least one film after this that found coherence. Maybe we have to sit through some number of these sometimes to get a good film. God knows that Terry Gilliam has punished before he rewards.
Ted's Evaluation -- 2 of 3: Has some interesting elements.