Francis Veber is a director known from his intelligent comedies featuring two contradicting characters, and has delivered such classics as "La chèvre" (1981), "Les fugitifs" (1986) and "Le dîner des cons" (1997). One year before the latter, he tried his hand at adventure comedies with "Le jaguar", a film that takes an already engaging story and transforms it into a successful commercial comedy.

As usual for Veber, his film revolves around two characters, a hardcore, serious explorer named Campana (Jean Reno) and a naïve, more innocent everyman named François Perrin (Patrick Bruel). These two meet on an elevator, with Campana, the protector of a shaman, being surprised when the latter has some kind of spiritual connection with Perrin. So, when the shaman gets sick and someone is needed to find his soul, Perrin seems to be the most suitable one to do so, and the unlikely duo of adventurers sets out for the Amazon.

The best quality of this movie is the chemistry between Reno and Bruel. For one, the two contradict each other perfectly, the one with his neuroticism and the other with his youthful energy. Whilst Reno is brave and risks his life for his cause, Bruel is cowardly and has no hesitation to quit the adventure in order to go home. Reno is decisive, Bruel is fickle, considering the adventure "fun" at first and "not for him" later. These elements of their characters are used very well in the movie. Essentially, these two play usual roles for them, Reno always having played the tough hero, and Bruel being branded the innocent, charming boy (see "P. R. O. F. S." (1985) for further proof of that).

The cinematography is excellent, too, showing parts of the Amazon from above, making the viewer feel fascination for this wonderful landscape. It is this part of the film, most of all, that gives it its adventurous character, with the sequences involving dense forests feeling more gripping through the camera's showing of the fauna around the heroes.

The film first starts as a comedy,but later develops more into a comedic adventure, with Perrin and Campana not only trying to retrieve the shaman's soul, but also striving to protect the Indians of the Amazon. While the adventure sequences aren't very convincing, its smart comedy, expressed through the actors' feelings and some visual gags, makes up for that and creates a considerably successful comedy of contradicting personalities.

For all his undoubted talent, Vladimir Cosma offered an indifferent score, which bears no resemblance to his excellent work for Veber's another film, "Les compères" from 1983. However infectious that one was, so forgettable is the soundtrack of "Le jaguar".

Still, "Le jaguar" is a film making ingenious use of his cast's personalities, with plenty of comedic moments, although one could say that the action sequences are weak, Veber not being made for serious features. Its charm lies more in the fact that it is a slightly alternative version of Veber's classic work with the duo Depardieu - Richard, with his new one, the Reno- Bruel one, being as capable, if a bit less suited for partners. It is a film recommended for its commercial character and comedic elements that deserves to be remembered as one of Francis Veber's less famous works.

While essential to establish characters and start the plot, the first 40 minutes linger a regrettably long time for an adventure-comedy that ultimately takes us to South America. Those early scenes in France also bear an air of exploitative othering, as the humor largely rides on the incongruity of shaman Wanu appearing in a great metropolis in only the minimal garb of his people. Add in outdated language that refers to Wanu and his tribe as "Indians" - though enjoyable, it's a somewhat inauspicious beginning for the movie.

Thankfully, even with such indelicacies, 'Le jaguar' is a good time, especially once the plot begins in earnest with the sojourn to the Amazon. The filming locations are absolutely gorgeous, and I admire the score composed by Vladimir Cosma, alternating between sweeping themes to complement the beauty, and more dramatic tones to pair with the action on the screen. What contributions are provided in terms of hair, makeup, and effects are quite suitable. Stunt work and choreography look great, where they are employed in more vigorous moments. While hardly revelatory, these aspects executed well and do much to build the more meaningful adventure-laden elements of the story.

That having been said - blemishes aside, the screenplay is pretty great. True, the character writing and dialogue aren't necessarily developed beyond what is necessary to serve the plot. Campana is knowledgeable, experienced, honorable, and unwilling to put up with nonsense; Perrin is ignorant, obnoxious, and unlikable; the villains are, well, villainous. But to be fair, with this particular blend of genres, more robust figures and lines aren't especially important. Moreover, even these rudimentary sketches are sufficient to round out excellent scene writing and a complete, coherent narrative that comprise the heart of 'Le jaguar.' As both writer and director, Francis Veber arranges shots and scenes that are marvelously well considered, low-key riveting, and even endearing, all while looking fantastic. The broad strokes of the plot are perhaps a little predictable, but with the feature being so well made and entertaining, does that really matter?

One can hardly discuss 'Le jaguar' without noting the cast. Even as the characterizations are slightly bereft on paper, the assembled actors have certainly proven their worth elsewhere, and here they embody the parts with all their skill to lend a gratifying sense of personality and depth. Jean Reno's poise and delivery make him the perfect choice for Campana, while the natural charm and grace Patricia Velásquez carries with her enlivens the supporting role of Maya. Danny Trejo, in a seemingly rare clean-shaven role, bears all the expected physicality of antagonist Kumare, while Gil Birmingham is duly imposing as one of Kumare's guards. Patrick Bruel I'm unfamiliar with, but he inhabits hapless, haughty Perrin to great comedic effect, ably navigating the character arc through its uneven shifts.

I began watching with no foreknowledge. I can't say the movie is perfect; especially within the first 40 minutes, it has readily apparent faults, and dabbling with the "white savior" trope is also deeply unfortunate. But these don't substantially dampen the value of what 'Le jaguar' otherwise represents. Rough edges aside, this is a fun, engaging adventure film, with light comedy scattered throughout. Strong scene writing, direction, and a great cast make up for whatever shortcomings may present, and the result is a swell movie that's worth checking out if you have the opportunity.

If this isn't quite top drawer Veber it IS still Veber and that means it's almost certainly throw two mis-matched males together in the cause of laughter. This time around it's Jean Reno - later to feature opposite Depardieu in Veber's Tais-toi - and Patrick Bruehl. The former is an anthropologist who is taking a Shaman from the Rain-Forest on a world tour to raise awareness and the latter is a nebbish in hock to the mob who could use a vacation to Anywhere until the heat is off. When the Shaman takes a shine to the nebbish, lays a 'magic' charm on him and charges him with 'finding' his - the Shaman - soul Bruehl goes along for the ride fully intending to catch the next plane back to Charles de Gaul. Things, of course, don't work like that and next thing he knows this Clark Kent turns into Superman and throws a couple of hard men literally across the room. He still has eyes to flee the scene however but eventually stays to defeat the heavy and win the girl. With this added to my DVD collection I lack only Le Jouet for a complete set of movies both written and directed by Veber (the latest, La Doublure, is not yet available on DVD) and though this one will be reprised less often than the other five it WILL be reprised.