We hear his voice very loudly.
We imagine him reading the tributes with his black smile, with the humor that slams like a whip, and letting go, for example: "Oh well, a huge actor is dead?
Or rather a scriptwriter covered in prices?
“Because Jean-Pierre Bacri, disappeared at 69 years of age from cancer, received four Césars for his scripts, but he was named six times as best actor without ever winning it.
It is deeply unfair.
The last time, it was for "the Meaning of the party", in 2018. We see him again at this evening, Droopy who knows he will lose, entirely dressed in black.
The Canal + journalist questions him on the red carpet before the ceremony.
Better to be armed to interview Bacri, who never pretended to be happy: "A pleasure to come to the Césars?"
I wouldn't go that far… ”Next question?
The answer nails you to the ground: “I don't think much about it”.
He is standing, the other is knocked out.
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Bacri was tall all the time.
On screen, on boards and TV sets.
Like a grumpy philosopher, strafing his interlocutors with definitive sentences.
So much so that his puppet was one of the stars of the Guignols of the great era, at the end of the 20th century, with the voice of Nicolas Canteloup: never happy, always funny.
Always brilliant.
Bacri was viscerally opposed to any banality.
Always up to the task as an author: that of his scripts and his plays with Agnès Jaoui, who was his companion for a long time, and of his character, even in life.
That of a moaner, of a superactive false depressive.
Gilles Jacob, long president of the Cannes Film Festival, perfectly described on Twitter, this Monday afternoon, this "sharp and stammering" voice.


What is extraordinary about BACRI c how much the tone of voice corresponds to its moods.
A categorical and hesitant voice, sharp and stammering, caressing and singing.
She leaves behind a trail of regrets and disappointments in love.
Rocky and soft like him
- gilles jacob (@jajacobbi) January 18, 2021
Peremptory and hesitant - the alliance of opposites.
Bacri thinks and weighs his words, always.
Born in Algeria on May 24, 1951, he discovered the cinema thanks to his father, postman and opener in a room on weekends.
He debuted at 27 in a Maigret, barely visible as a mustached thief.
The time of utilities.
With Jaoui, a comic and dark energy
He really broke through around age 35, in the mid-1980s, in “Soft Slope Summer”, and in the theater with “The Birthday”, a Harold Pinter play with cold, dark and scathing humor, that fits him like a glove.
It is in this room, above all, that he meets Agnès Jaoui.
Birth of a tandem.
In writing, on stage, and in life.
The Bacri-Jaoui and their comical and dark energy at the same time move.
They make comedy very smart.
Moreover, Bacri refused to say that comedy was frowned upon by the great family of cinema in France: "It depends which", he blurted out.
The successes follow one another.
“Kitchen and dependencies”, a play awarded by Molière for best author then a film in 1993, on the friendships and false successes of a group of friends who broke up, “Un Air de famille” and a long collaboration with the filmmaker Alain Resnais.
“Smoking / No smoking”, a brilliant variation on the couple, “We know the song”, which earned him his only acting Caesar, but in a supporting role.
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Funny man who has built himself a character of an atrabilaire loner, but whose one of the most beautiful films is called "The Taste of Others", in 2000. A hardened man who has built with Agnès Jaoui one of the most beautiful stories of love, writing and playing of his time.
Bacri, the irreducible, is part of all families as long as they have gossip.
With Alain Chabat who directs him in the brilliant “Didier”, a comedy in which he plays a player's agent.
Cédric Klapisch who orchestrates “Un Air de famille”.
And the Toledano-Nakaches who make him the organizer of the apocalyptic and wacky wedding of the "Sense of the party", a story for him.
In a tuxedo or not, he was classy and always had the last word.
He leaves a whole generation inconsolable.