Ah, France! Land of quaint cafes, tinted-postcard views, wide-eyed waifs and all the other delights Jean-Pierre Jeunet fetishized in Amelie, his 2001 art-house hit.
Also, the country is the world’s fourth-largest weapons exporter.
Improbably but satisfyingly, those two Frances are united in Jeunet’s latest movie, the obscurely titled Micmacs. (That’s short for Micmacs a tire-larigot, which could be translated as “lots of trickery.”) The result is an ingenious romp whose whimsy cloaks a political edge.
The story’s setup is involved, but briskly told: In 1979, a French soldier is killed while attempting to disarm a land mine in north Africa. Thirty years later, the dead man’s son is working in a video store when gunfire erupts outside, and a stray bullet enters his brain. Bazil (Dany Boon) doesn’t die, but the slug can’t be removed, and any internal shift could end his life.
Jobless after his hospital stint, Bazil falls in with a group of eccentrics who live in a jury-rigged fortress deep in some suburban junkyard. Soon the former vid-store clerk finds a purpose for his precarious existence: Gazing at a nearby building, Bazil spies the corporate logo from the mine that killed his father. Across the street, he sees the emblem from the bullet in his head. He’s stumbled upon the headquarters of two large armaments manufacturers, bitter corporate rivals glaring at each other across the DMZ of a busy street. (The location was inspired by the Paris suburb where Jeunet edited his The City of Lost Children in a building adjacent to a warplane factory.)