Micmacs isn’t a bad film. Lots of people will like it. The kind of people who like sweet fantasies and serendipitous romances. The kind of people who are happy to suspend disbelief in order to believe that the universe is good, and ordered, and that it watches over us. The kind of people who like Amélie.
I’m a bit more cynical. And I also can’t help thinking “but that’s impossible”, or “but that’s illogical” over and over, even though I know I’m spoiling the fun.
There are plenty of occasions to have those thoughts in Micmacs. It’s set in a universe that has a dash of magic and fantasy to it. It’s a little like an adult’s film in a children’s universe.
Not surprising, seeing as it’s directed by Jean-Pierre Jeunet, the same writer/director of Amélie, and half of the duo that created Delicatessen and City of Lost Children. Micmacs has the same beautiful appearance as those films, with lovely colours and plenty of creative scenes. There’s also the same fascination for the roles that the tiny and invisible play in chains of miraculous causation (in these films, tiny things are always causing big results).
But the story itself is a little – what’s the word… cartoony. It’s a fairly simple premise – Bazil (the clownish Dany Boon) has a bullet in his head. It can all be traced back to the amoral work of two wealthy weapons companies. He wants revenge. Bazil hooks up with a group of misfits who live out of a scrapyard. They each have quirky, semi-autistic powers. Like Calculette (Marie-Julie Baup), the human calculator, who can calculate and distance, weight etc just by looking at something. Bazil, with misfits in tow, goes through a bunch of hairbrained hi-jinx to get back at the CEOs of the weapons companies.
There’s not too much to it apart from that. A lot of the screen time is taken up with fun and capers – for example, showing us the contraptions that the misfits make out of junk at their junkyard (which are quite clever and magical). That time is taken away from the characters and the relationships. That’s a trade off that has its pros and cons. I wanted to see the characters developed a bit more. It’s a feeling I often have in films where a team of quirky characters is presented and they each do their little bit, using their special talent.
Micmacs is also a film that seems to have lost something from being exported from France. There are obviously a few French language jokes that are lost in translation. It’s especially obvious because the special quirk of one of the misfits – the ethnographer – is his unusual and garrulous talking style. It seems like it was hard to translate what he’s saying without losing some of the point.
In the end, it’s fun, it’s pleasant, it’s kind of quirky. It’s nice. It looks good. But it has a bit too much sugary fantasy. If Jeunet had piped in some of the darker themes that were present in Delicatessen and City of Lost Children, it would have worked a lot better.