A family resemblance, The taste of others, Cuisine and dependencies, The Sense of celebration … In his 40-year career, Jean-Pierre Bacri has left an indelible mark on French cinema. Tribute to a great artist who has just left us.
“The character of Max he plays in Le Sens de la fête is a tailor-made role for Jean-Pierre Bacri. It’s obvious, and it made us want to write to him to tell him why we adore him, why we admire him and why he touches us “ we wrote in 2017.
Words that resonate today in a very singular and sad way, at the moment when we learn of the death of this great actor – author; one of the great figures of French cinema, the consequences of cancer.
We republish this letter below, now post-mortem … Homage.
This week, I discovered Le Sens de la fête at the cinema. The role of Max, wedding planner on the verge of bankruptcy who has to deal with a team of broken arms to offer a young couple the wedding of their dreams, is a role tailored to you, it’s obvious. , and it made me want to write to you. All the reasons we wouldn’t see anyone but you in the role of Max are all the reasons why you are a unique actor in the French cinematic landscape, and the reasons why you are an essential actor.
Everyone knows you and admires you for the wonderful films written – and often interpreted – with Agnès Jaoui, your lifelong partner. For the music of your punchy dialogues that always sound like the truth.
Before, there was childhood in Algeria, then life in Cannes, the rise in Paris, the Cours Simon, the writing, the first plays, the first role in the cinema in Le Toubib, the first outstanding performance in Le Toubib. Big pardon, the first César nomination for Best Supporting Actor for Subway, and meeting Agnès in 1987 while you play in Harold Pinter’s play, The birthday.
It is the beginning of a splendid collaboration between you, which gives birth to squeaky comedies, hard and tender characters, popular and different films, directed by Alain Resnais, Cédric Klapisch or Agnès Jaoui.
In the collective imagination, Jean-Pierre Bacri is grumpy, sometimes cynical – often cynical -, but with a good background. We sometimes see you little in the cinema, sometimes we don’t see you anymore, but we don’t forget you, we know you’re there. OFfamily resemblance at Didier, through Le Goût des autres and The Very Private Life of Mr. Sim, you impose your style of play. You don’t disappoint, you don’t play to play, you don’t accept a role lightly. You say it yourself, it’s “according to your pleasure”.
You like complex characters, you like fallible characters. “If I can’t find humanity, you say, if I don’t find a weakness, it bothers me. ” It is to this that your talent and the infinite charm of the characters you compose derive, it is to this that the beauty of your interpretation of the character of Max comes from: accuracy and grace. The magic operates when with infinite tenderness, hardness and fragility collide to simply leave room for emotion and in you, emotion is not just the look, it is above all the voice.
Your diction is special, you have to follow, listen, but the intonation, the articulation, the rhythm, which are specific to you, produce dissonant and beautiful music, which itches and which touches, which makes you laugh and which moves. What we are looking for, in the heart of a scene where a hero lets himself go to say what bothers him, what revolts him or what saddens him, more than a wet look, it is a voice that broken.
This is surely where we love you the most, me is where you touch me, when your voice breaks. Thanks for that.
So long the artist …