Alright, rewind your minds with me. Picture this: it’s the mid-90s, Blockbuster shelves are brimming, and amongst the usual Hollywood fare, you stumble upon a colourful VHS box. Maybe the artwork catches your eye – the unmistakable stoic mug of Jean Reno, fresh off blasting his way into international stardom with Léon: The Professional (1994), paired with a slick-looking French pop star type, all set against a backdrop of lush jungle. That tape, my friends, was likely 1996's Jaguar, a charmingly offbeat slice of French adventure-comedy from a director who knew a thing or two about pairing unlikely duos.
### Parisian Gambler Meets Amazonian Shaman
Directed and written by the master of the French odd couple, Francis Veber (the genius behind La Chèvre (1981) and Le Dîner de Cons (1998), later remade as Dinner for Schmucks), Jaguar plunges us headfirst into a bizarre scenario. We meet François Perrin (Patrick Bruel, a massive music and screen idol in France), a compulsive gambler drowning in debt and dodging some rather unfriendly creditors in Paris. Through a series of increasingly improbable events involving a luxury hotel elevator, he literally bumps into Wanu (Harrison Lowe), an Amazonian shaman visiting France on a PR tour with his imposing, quiet companion Campana (Jean Reno).
Wanu, sensing a certain… something in Perrin, believes the gambler possesses a powerful spirit animal – the jaguar – and is the only one who can help him combat an evil force threatening his tribe back in the Amazon. Naturally, Perrin thinks this is utterly insane. But when Wanu seemingly suffers a massive heart attack, leaving his soul adrift, Perrin finds himself strong-armed (and perhaps slightly guilt-tripped) by the formidable Campana into accompanying the shaman's unconscious body back to the depths of the South American rainforest. The hook? Wanu has psychically promised Perrin he'll guide him to hidden treasure if he helps. For a desperate gambler, even a jungle jaunt with a comatose shaman and his near-mute bodyguard starts to sound appealing.
### Culture Clash Comedy in the Jungle
What follows is classic Francis Veber territory, albeit transplanted from Parisian apartments to the sweltering humidity of the Amazon. Veber, who often revisited character names and archetypes (Perrin/Campana pop up elsewhere in his filmography), knew exactly how to mine comedy from contrasting personalities. Patrick Bruel, perfectly cast as the perpetually exasperated, slightly sleazy but ultimately good-hearted city slicker, is completely out of his element. His reactions to jungle cuisine, indigenous customs, and the sheer lack of luxury are the film's comedic engine. I remember finding his frantic energy quite funny back on my fuzzy CRT rental copy – it’s broad, yes, but Bruel commits.
Opposite him, Jean Reno delivers a masterclass in stoic presence. Campana barely speaks, communicating largely through imposing glares and decisive action. It’s a performance built on physicality and subtle reaction, a far cry from the explosive Léon, but showcasing Reno’s versatility. He’s the anchor, the immovable object to Bruel's flappable force. Their dynamic forms the heart of the film, evolving from suspicion and annoyance to a grudging respect forged in shared absurdity and danger. Interestingly, while Reno was the bigger international name thanks to Luc Besson, Bruel was arguably the bigger domestic star in France at the time, making their pairing a significant event for French audiences.
### Adventure, Authenticity, and That 90s Feel
While Jaguar leans heavily on comedy, the adventure elements feel refreshingly tangible, largely thanks to the decision to shoot extensively on location in the Venezuelan Amazon. Forget green screens; the humidity practically radiates off the screen. The dense foliage, the river journeys, the encounters with wildlife (real or convincingly staged) – it all possesses a grounded quality that CGI-heavy adventures often lack today. There aren't huge, explosive set pieces like a typical Hollywood blockbuster of the era, but the sense of place is immense. Remember how impressive location shooting like this felt before digital backlots became the norm? The logistical challenge of filming deep in the jungle back then undoubtedly added to the production cost and effort, contributing to that authentic feel we often miss.
The "action," such as it is, involves chases through the jungle, navigating treacherous rapids, and dodging villains who want to exploit the rainforest. It’s more about survival and wit than firepower. The stakes feel personal, tied to the characters and Wanu's spiritual quest, rather than world-ending threats. Harrison Lowe, as Wanu (both conscious and comatose/spirit-form), brings a quiet dignity and mystical presence that grounds the more outlandish plot elements. His performance is crucial in selling the film's central spiritual conceit.
### A Charming Oddity
Was Jaguar a massive global hit? Not exactly. It performed reasonably well in France but didn't quite replicate the international crossover success of some of Reno's other work or Veber's biggest comedy hits. Critics at the time were somewhat mixed, perhaps finding the blend of slapstick, spirituality, and adventure a little uneven. And watching it now? Sure, some of the humour feels distinctly mid-90s, and the pacing might occasionally meander compared to today's hyper-edited fare. The plot requires a healthy suspension of disbelief, bordering on the fantastical.
Yet, there’s an undeniable charm to Jaguar. It’s a film made with a certain Gallic flair, unashamedly blending genres and trusting its charismatic leads to carry the audience along. It feels like a product of its time in the best way – ambitious in its location work, reliant on character chemistry, and possessing a kind of earnest, slightly goofy sincerity. It wasn't trying to be a slick, cynical Hollywood clone; it was doing its own quirky, French thing. I recall renting this one specifically because Jean Reno was on the cover, expecting maybe Léon Goes Camping, and being pleasantly surprised by this funny, warm-hearted jungle romp instead.
***
VHS Heaven Rating: 7/10
Justification: Jaguar earns a solid 7 for its fantastic central pairing (Jean Reno and Patrick Bruel have genuine chemistry), Francis Veber's knack for culture-clash comedy, and its impressive, authentic Amazonian location shooting that gives the adventure a tangible feel. It loses a few points for a sometimes uneven tone and a plot that relies heavily on coincidence and mystical convenience, which might not land for everyone. It’s perhaps not peak Veber or peak Reno, but it’s significantly charming.
Final Thought: Forget CGI jungles; Jaguar is a reminder of when adventure comedies felt grounded by real sweat, real locations, and the real awkwardness of a Parisian gambler trying to survive the Amazon armed only with bad luck and a stoic bodyguard. A genuinely fun, quirky escape worth digging out of the VHS archives (or your preferred streaming equivalent).