This movie is extremely static. Thanks to Jean-Pierre Jeunet I had a wonderful dream, I will never forget. The miracle began with the first press screenings: everyone loved it, and even the most hardened critics applauded enthusiastically as they wept for joy. Not by doing great big things or giving money, but by little things. Tautou addresses the camera as if she were looking each viewer right in the eye; she has the cross-hairs focus of a movie star.
He painstakingly creates his urban vision with the same meticulousness that Amélie's neighbor, the painter Dufayel Serge Merlin , does stroke-for-stroke recreations of Renoir paintings. She's like a cross between Shirley Temple and a mime. The film takes place in Berlin, during the so-called German Autumn of 1977. With these concerns Amélie gets hardly any real life contact with other people and leads her to live in her own fantastical world and dreams of love and beauty. Stories of the Red Army Faction and the Lufthansa Flight 181 hijacking play on televisions, adorn the front pages of newspapers, and spill like poison from speakers across the city. While not my type of movie it is well done.
As Mikey and Nicky wander throughout the night, under the guise of figuring out where to hide Mikey from a crime boss, they talk of family, childhood, and past longings, outlaying their souls to the viewer. The main character, Nick Falzone, played by John Cusack, boasts about his performance and managing stress besides being able to reduce the employee turnover rate to 50% due to his sheer ability to manage the stress of managing a difficult job. Instead of going into much detail about why the film works, I'll instead try to explain what it meant to me personally. However, the director Alexander Payne is known for his brilliant plots and marvellous direction he did not let the audience move out in grief and brought the story to end at the happy note. With the controversy finally blown over, and the film continuing to hum along, I went back to see Amélie for a second time.
All of which set the cat among the pigeons. The only problem is that Amelie's selflessness isn't real, she's only doing this to feed her own sense of accomplishment so she can crack that god-awful smile at the camera once that good deed is done. The rich, storybook setting and a witty screenplay asides are taken to deepen our connection each character, little things that each likes and dislikes make the film all the more a delight to watch. Amélie is a film that folds back on itself, a chilling return to an obsolete iconography and a frighteningly closed vision of the world. Sure I guess this means I have to open up maybe more than I'd like to about myself, but oh well. Right in the beginning when Amélie's mother is introduced, the picture is balanced symbolizing her pursuit for correctness and cleanliness. The sepia indicates that ''Amélie'' takes place in a dreamscape Paris, and the wide-open streets come out of the French films of the 1930's, which already idealized France.
By the climax, the movie segues into a rumination on loss and the perils of being too playful. This movies biggest crime, and yet its biggest asset, is that it is in French. Sad to say so, but I believe it is the truth. Audrey Tautou seems to channel a young Audrey Hepburn in this film, and her performance is perfect. Lighthearted and fun and absolutely gorgeous. That would bring the total number of times I've done this to perhaps forty.
But will she do for herself what she has done for others and find love with the mysterious collector of rejected photo booth pictures? Jeunet uses video as a device to demonstrate how Amélie has kept the world at arm's length, but the scene evokes ''Krapp's Last Tape''; in close-up, Dufayel resembles Samuel Beckett. Cinematographer Bruno Delbonnel does an excellent job in filming Jeunet's crazy vision and Audrey Tautou with her funky hairdo, wide brown eyes, and whimsical voice and kitten like mannerisms and shyness brings the movie to life. To establish a dreamlike atmosphere they used mostly red and green, sometimes adding a little blue spot in the picture to set the contrast. Movies like this one don't come around very often. Maybe that is also one reason why I like this film so much.
I very rarely give movies a 10, and I was indeed considering a 9 for a while, but for me this is one of those movies I will come back to time after time. She's really cutesy and pale and she doesn't say anything. Apparently there are legions of us out there. In a single scene, a television shows a man doing back flips while a friendly doggy runs in place on his stomach, an image replaced by the gospel whirlwind Sister Rosetta Tharpe, twanging her way through ''Up Above My Head. He uses a digital effet showing the key's silhouette in a yellow light.
Amelie delivers her own brand of justice. The color in Amelie was very interesting. Anyway, Le fabuleux destin d'Amélie Poulain is still my favorite movie. His behind-the-scenes glimpses of the characters' likes and dislikes — from cleaning out a toolbox and getting fingers pruny in the bath to sticking a hand in a barrel of grain and cracking the sugar on a crème brulée -- are deliciously particular and somehow very touching. According to the due procedure of law, the law protects life, offers freedom or affluence. May allows women to enter the fray, showing how these men gauge themselves differently against the opposite sex, obscuring and reupholstering themselves. Not by non-sense visual or sound effects,not by its hard,war scenes,not by its too-profound-to-be-understood psycho-socio-sexual comment ,but by its h u m a n i t y.
This piece of art just shocked me. Anyhow, the extreme close-up of Yolande Moreau was to intriguing to me, so I shrug back in disgust rather than laughing about it. The sequence is operatic, nonsensical, and absolutely glorious. Suspiria is a largely befuddling accumulation of shots and sounds that never coalesce. They speak laconically, their words pregnant with unspoken meaning as the camera moves with an unfussy sense of control.