DEERSKIN (Le daim)
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Quentin Dupieux
Screenwriter: Quentin Dupieux
Cast: Jean Duojardin, Adèle Haenel, Albert Delpy, Coralie Russier, Laurent Nicolas, Marie Bunel, Pierre Gommé
Screened at: Critics’ link, NYC, 3/14/20
Opens: May 1, 2020
Near the opening of “Deerskin,” Georges (Jean Dujardin) checks into a cheap motel in a one-horse town asking to stay for one month because he wants to be alone. But Georges may have been alone before the check-in but he is not a single person any more. He had purchased a deerskin jacket, willing to buy it with a dated movie camera thrown in, because he considers it the most beautiful jacket in France. In fact to prove he is not alone, when he is in the motel room, he talks to the jacket, and lo, the jacket talks back in Georges’s own voice. So this is not a film so bizarre that the writer-director wants you to think that the jacket is really alive, but it’s bizarre enough. And no wonder. Its regisseur, Quentin Dupieux, is credited with “Réalité,” about a director who wants to hire a person who can deliver a groan worthy of an Oscar. Even more off the beaten track, literally, his “Rubber” follows the exploits of a homicidal tire obsessed with a mysterious woman in the desert.
For his part Jean Dujardin, whom you may remember from the boldly original silent film “The Artist” in which he takes second billing to a Jack Russell Terrier, is virtually unrecognizable under his thick beard and some weight he either put on since “The Artist” or had the make-up person bulk him up artificially. His character Georges is convinced by his deerskin jacket that the article of clothing should be the only one in existence; meaning, not just the only deerskin in existence but the only jacket. To fulfill the jacket’s plan he sets out to film a movie with his newly bought camera, offering euros to several people if they would remove their jackets and put them into his car trunk. When they do so, he takes off. Later it becomes difficult to con people into the donations, and that’s where the film turns to dark comedy.
The principal attraction of “Deerskin” is the relationship between Georges and Denise (Adèle Haenel)—whom movie buffs will quickly recall for her startling lesbian role in “Portrait of a Woman on Fire.” Denise serves in a bar with only one or two customers but her passion is to edit movies. (That’s a new one: not a desire to act or direct!) Georges picks up on this, hires her as an editor, gets her to cough up money which she withdraws from an ATM. She proceeds to put his spontaneous film takes into an editing machine, and before you know it, her obsession with cutting film matches Georges’ preoccupation with his jacket.
Dupieux knows not to overstay his welcome as the film has barely enough material for a short. Denise congratulates herself with an interpretation of the jacket as “we all hide behind a shell,” which Dupieux may have thrown in to satirize the predilection of serious moviegoers to find meaning where symbolism does not exist. Look, the guy is simply obsessed with a deerskin jacket which, Georges thinks, feels anger that other jackets exist in France. This is a kooky picture, but not difficult or “artsy.” It exists largely to have us feast on the talents of the always imposing Dujardin.
77 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – B-
Acting – B+
Technical – B
Overall – B