Gérard Darmon. A name that strikes like a cult line. The man with the baritone voice, oscillating between the beloved actor and the slightly embarrassing uncle, is part of the landscape. But today, a much less glorious setting is forming around this figure of French cinema. At the center of the stage? Accusations that are far from fiction.
"Jokes" that no longer pass
Nine women, interviewed by our colleagues from Politis, paint a portrait far removed from the one applauded on the big screen. Costumers, makeup artists, and assistant directors speak of chilling moments of discomfort. Gone are the well-written dialogues; in their place are words and gestures that evoke anything but laughter.
Between inappropriate remarks — "bitch" would be one of his favorite terms — and dubious propositions, Darmon apparently made himself quite comfortable on set. The highlight? A 19-year-old woman to whom he allegedly said a very delicate "We could make love, you could come to my place". When she declines, he insists. An insistence that quickly turns to resentment when the heroine of the moment continues to say no.
Behind the scenes of untouchable power
Cinema, this big family where everything is known but nothing is said, seems to have long covered up Darmon’s missteps. "If Darmon leaves, the film stops," explains one of the women. So, silence prevails and strategies multiply. Some even created a WhatsApp group ironically named "The Day of the Shorts", to share the actor’s latest sartorial outbursts.
Another recounts this scene as grotesque as it is alarming: one morning, Darmon allegedly slipped a hand between her thighs, punctuating the gesture with a jovial "Come on, you’re not going to MeToo me!". Faced with rejection, the reaction is worthy of a sulking child: two weeks of sulking. A maturity that leaves one pondering.
Between outdated humor and evaporated apologies
Darmon, true to his reputation, has a ready response: "My problem is that I don’t want to be in the air of this time." Unfortunately for him, this "air of the time" seems to have scores to settle with those who thought they were safe.
The question remains open: should talent protect from everything? For decades, the actor has juggled between the charm of the seducer and the arrogance of the powerful. But times have changed, and this balancing act now seems to be faltering.
The presumption of innocence, the last bastion
In the face of accusations, Darmon defends himself vehemently. No insults, no inappropriate gestures, he claims. The productions, for their part, choose their words carefully, assuring support for the technicians while sparing their star. The truth? It may lie somewhere between the lines of these testimonies.
But one thing is certain: in this case, as in any other, the presumption of innocence is paramount. As troubling as the accusations are, they must still face justice. It remains to be seen whether the story will allow for a more just outcome than the dramas Darmon has accustomed us to on screen.
Curtain or rebirth?
This scandal resembles a poorly written script, whose epilogue remains to be written. Gérard Darmon, accustomed to the spotlight, will he find the words to soothe the wounds he is accused of causing? The credits, for now, are bitter: extinguished laughter, heavy accusations, and a silence that resonates far too loudly.