Favorite Roles: Jean-Pierre Jeunet’s Regulars

Jean-Pierre Jeunet is a director who most definitely has a cache of actors he enjoys casting again and again. He often has big, colorful casts, and it’s fun to see how his preferred actors might have a lead in one film, then pop up in a small role in another, then have a memorable supporting role in a third. A lot of variety in the types of characters they play, too – some tend to get cast according to type, but many of “his” actors get to use some range across his filmography. These are my favorite roles for some of my favorite reccurring players of his.

Urbain Cancelier:  Collignon (Amélie)

He’s awful, but he’s undeniably entertaining.  Collignon makes for a great antagonist browbeating poor Lucien, and Amélie’s secret war against him is a thing of beauty.  Both scenes of him reacting to her creative vengeance are comic gold.

Jean-Claude Dreyfus:  Marcello (The City of Lost Children)

Like a lot of things about The City of Lost Children, Marcello interests me in large part because of how much we don’t know about him.  I like that he’s less of an outright bad guy and more of a weak, somewhat demoralized guy who hasn’t yet worked up the nerve to do good.  That, and I love the whole circus/sideshow motif going on between him and the Octopus, so the “ringmaster fallen from grace” vibe is neat.

Ticky Holgado:  Germain Pire (A Very Long Engagement)

Ah, the peerless pry!  Cheerfully-tenacious but only-moderately-effective private investigator with a soft spot.  I enjoy this character a lot, and the brief montages of him chasing Tina Lombardi’s trail add some nice levity to the proceedings.

Serge Merlin:  Raymond Dufayel (Amélie)

This one’s a no-brainer.  Obsessive, crotchety, and literally unable to be touched by another human being, but Dufayel is just lovely.  I love his slow, tentative friendship with Amélie, how he’s just as nosy as she is and gets up in her business despite his protestations of indifference.    I like the (very) thinly-veiled discussions drawing parallels between Amélie and the girl with the glass, and the last scene with the videotape is wonderful.

Yolande Moreau:  Mama Chow (Micmacs)

True, Moreau has more to do and is probably more entertaining in Amélie, but I really like Mama Chow.  In the little family that the characters have cobbled together, she’s pretty much everyone’s mom, regardless of age or circumstance.  She’s equal parts maternal and practical, and I really like the scene where she convinces Bazil to fill the rest of them in on his plans and let them help him.

Ron Perlman:  One (The City of Lost Children)

It might be odd to count Perlman among Jeunet’s regulars, since he only made this film and Alien:  Resurrection, the less of which said the better, but One is so fantastic, he earns Perlman a slot here.  Easily-confused but brave, determined, and loyal to a fault, One rocks, and his adorable relationship with Miette is made of win.

Dominique Pinon:  The Clones (The City of Lost Children)

Honestly, I like all of Pinon’s appearances in Jeunet films, even Alien:  Resurrection, but I just love the clones so much.  While Pinon is no Tatiana Maslany, he’s not supposed to be.  The clones are largely interchangeable, childlike adults with the misfortune to have Krank for a brother.  I especially like the scene of one clone telling Krank about his dreams and another slips in seamlessly as the first one starts to nod off.

Rufus:  Robert Kube (Delicatessen)

Another tough one, because I love Rufus as Amélie’s dad, but ultimately, I had to go with Robert.  This part has it all:  novelty noisemaker production, late-night bouts of well-intentioned derring do, and unflattering insults from the voices in the head of his suicidal would-be lover.  Where else but in a Jeunet movie, people?

Audrey Tautou:  Amélie Poulain (Amélie)

All the best to Mathilde, but no way no how can you compete with Amélie.  I love her so much.  Her whimsy, her determination, her fear, her shyness, her stratagems – every bit of her is glorious.  Tautou plays this beautifully-written part to perfection, and I will love her forever for it; it’s just that kind of role.