Delicatessen

Delicatessen is an ingeniously funny film with a surprisingly sweet romance at its center.

The slapstick is classic-level stuff, the kind of domino-effect precision that is lost in most of today's clumsy farces.

Jean-Pierre Jeunet and Marc Caro's "Delicatessen" is an exuberantly wacky, perversely droll black comedy with an ample dose of gentle whimsy-"Eating Raoul" out of "Mr. Hulot's Holiday." [17 Apr 1992]

Delicatessen may be junk food, but it's served with the discretion of nouvelle cuisine. [07 Apr 1992]

co-directors Jean-Pierre Jeunet and Marc Caro know their craft; of the films here, only Othello has a more trenchant visual style. [30 Apr 1992]

A smirky cleverness infects much of the picture, yet some scenes are so skillfully created that it's hard not to admire them, and Dominique Pinon's sensitive performance as a retired circus man gives the movie a soul. [10 Apr 1992]

There are no characters to care about or remember afterward - just a lot of flashy technique involving decor, some glib allegorical flourishes, and the obligatory studied film-school weirdness.

"Since I break things, I always buy two." You remember the oddly satisfying scene from Amélie where the titular heroine describes her little pleasures? Delicatessen, as a whole, seems to be the exact opposite of that scene. From its first minutes, we're thrown into a dirty, twisted, decaying universe where everything seems off, discordant and in a total disarray. A universe where the cold water only comes on when you turn the handle for the hot, and vice versa, and where there is a musical saw. Speaking of the musical saw, music seems to be the only thing that can effortlessly produced; hence, it's our only interim comfort in this bizarre, unsettling world. For, in contrast, when it comes to music, all the things, whatever they are, seem to be miraculously harmonious with each other. The outrageously beautiful yellow-drenched cinematography, the close-up shots and camera angles and the post-apocalyptic futuristic setting, all reminded me of Gilliam's Brazil. While the whimsical, childlike feel that pervade the entire film reminded me of Wes Anderson. That said, Jeunet and Caro's vision is one-of-a-kind. For while cannibalism plays a major role in Delicatessen, it's never disturbing and doesn't even have much violence. And while it has an undeniable childlike feel into it —to the point its characters and its overall look are so cartoonish— it's not to told from a child perspective and very mature at its core. "Nobody is entirely evil: it's that circumstances that make them evil, or they don't know they are doing evil." This quote doesn't only apply to a certain character in the film, but I think it sums up the entire film in one way or another. Delicatessen is littered with inexplicable circumstances that seem, at face value, to only lead to sinister ends. However, there are also things in the film that don't seem to fit in with neither its major theme nor the chaotically evil happenings. Yes, the music and the cartoonish vibe. They somehow suggest that everything will be alright in the end: where comes the job for the Australian! The only issue I have, which is sadly a major one, is that the film is too convoluted for its own good. The fact it's intentionally messy —which is a thing I adored about it— didn't help either. Regardless, do yourself a favour and watch it, even if you didn't necessarily like Amélie. "C’est saisissant!" (8.5/10)

Delicatessen is a very visually stimulating film. Despite the impression that the description creates, the film is about as much a horror movie as Army of Darkness is. Rather I would say the film is a fiendish and surreal comedy. Whether you enjoy the film or not will largely come down to taste. The acting and filmmaking are good enough to at least warrant a view so you can see for yourself.

Quirky French comedy/thriller (if you can call it that) with some great characters & all round weirdness. The film is almost shot entirely with a sepia tint which ads to the claustrophobia of it all. Also a mention for the brilliant music by Carlos D'Alessio.

Dark, comical, surreal, unconventional and eccentric. The mixture this film manages to create is unique and absurd in equal amounts, and while it doesn't have an overly powerful plot, it still manages to deliver an unforgettable experience. The artistic brilliance of its production is beautifully complemented by its imagination and inventiveness. The film benefits from this overall approach, without relying on anything that stands out above the rest of its proposal. If you're looking to immerse yourself in an impressively bizarre world, Delicatessen is a fascinating option.

This movie was completely unhinged but managed to come together nicely, enjoyed the 3rd act much more than the rest, but it was dependent on a large amount of meticulous setup in the first 2.