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Amélie
Le Fabuleux Destin d'Amélie Poulain
The Fabulous Destiny of Amélie Poulain
Amélie is a whimsical journey following the life and antics of a young French woman, Amélie, (wonderfully played by Audrey Tautou). This film is another testament to the brilliance of Jean-Pierre Jeunet, the director of the fabulous Delicatessen and the City of Lost Children. Although Jeunet also directed the lesser liked Alien Resurrection, that Hollywood experience allowed him to get Amélie produced back in France.
This film is a departure from Jeunets preferred darker subject matter, it is a romantic comedy, which delightfully sweeps and flits through the mind of a very engaging character. The film did have one strong critic, who attacked it for misrepresenting modern Paris, for creating a world that once existed, in Montmartré and surrounds, by omitting all the ethnic characters to be found there today. Jeunets defense against his critic was that one of the characters was Moroccan.
I think that criticism is a bit churlish, as this is a film of whimsy, not social import. Yet, even so, it manages to touch on attitudes, fears, hopes and frustrations many of us have experienced in some way or other.
It is a film of immense likeability and many French claim it saved the French film industry, because of its huge international success. Jeunet and Guillaume Laurants film script is witty at times, without being overburdened with verbosity, allowing us just enough insight into the characters to want to know more; it never labours on, nor lectures, about their motivations.
There is a narrator, André Dussollier, heard throughout the film, which is appropriate, as Jeneut invites the audience, from the beginning, to join in as the observers of events. The modulation of Dussollier's delivery only adds to the humour and the charm of the film, I never felt it intrusive nor disruptive.
At the beginning of the film, we briefly learn of Amélies childhood and the oddly amusing incidents that inevitably create her quirky, young adult personality. A neurotic mother and a detached oddball medical doctor father were her unfortunate role models; isolating her at home, because of a misdiagnosis and then the mothers darkly amusing accidental death, caused the young Amélie to withdraw somewhat into her own world. Amélie then emotionally experiences life one step removed.
Amélie finds a job at a café, (an actual café in Montmartre, The Two Windmills), habituated by eccentrics on both sides of the counter.
But then, as happenstance would have it, Amélie uncovers a young boys treasure trove, (who was a previous tenant from the 1950s), hidden behind a bathroom tile in her flat. This discovery motivates her to find him and if the return of his pathetic little box of memories pleases him, she vows to continue on with good works. If not, she wont!
Impish, withdrawn to a degree, keenly observant and greatly empathetic with those less fortunate, Amélie is a complex character whose layers of personality are gradually revealed, making the journey a delightful experience; funny, oddball, endearing and then there is her Arch Angel streak, where she adopts vengeful ways to counter the wrongs being done to a hapless victim.
I loved Amélie the first time I saw it, some years ago, and I loved it all the more this time, which is a rare response for me. It is one of those rare films that I could watch every year without being bored by the experience.
The set design and locations, wardrobe, makeup and set dressing all combine beautifully, to enrich the Parisian experience. It may be a fantasy view of Paris today, but it is one few viewers would not want to be a part of. Jeunet uses the talented cinematographer Bruno Delbonnel, who captures the magic and light of Paris.
The antics of animation are also a playful part of the film, which adds another fascinating and amusing layer, serving the story well.
Amélie was nominated in five categories for the Academy Awards of 2001 (Oscars); Best Foreign Language film, Best Original Screenplay, Best Cinematography, Best Art Direction and Best Sound. It won many international awards.
I highly recommend Amélie as a delightful bit of escapism with a generous touch of heart warming sentiment.
AUSTRALIAN DISTRIBUTOR: ICON FILM DISTRIBUTION
AVAILABLE ON DVD AND BLU RAY NOW.
Directed by Jean-Pierre Jeunet
Produced by Jean-Marc Deschamps and Claudie Ossard
Written by Jean-Pierre Jeunet (scenario)
Guillaume Laurant (dialogue)
Narrated by André Dussollier
Starring:
Audrey Tautou
Mathieu Kassovitz
Rufus
Claire Maurier
Isabelle Nanty
Dominique Pinon
Serge Merlin
Jamel Debbouze
Arthus de Pengerne
Maurice Bénichou
Cinematography Bruno Delbonnel
Editing by Jeffery Schneid
Music by Yann Tiersen
Distributed by:
ICON DISTRIBUTION Australia
UGC (France)
Miramax Films (USA)
Release date
December 21, 2001 (Australia)
Running time 122 min.
Country France
Germany
Language French
IMAGE CREDIT: Creator unknown, copyright presumed held by publisher or creator of work depicted. Please contact me for inclusion of copyright owner's credit. Image used for critique of the film production, for ICON Film Distribution.
Official Poster
This film has more than a few thrilling moments. It caused my friend to throw her hands over her eyes and gasp, numerous times. I kept looking, but will admit to a few gasps too.
Academy Award winning René Zellweger, who plays Emily Jenkins, a caring and devoted social worker, is determined to prove that the weird, (make that really weird) and dysfunctional parents of a highly disturbed child, are guilty of sadistic child abuse.
But what did the childs parents do? The haunted looking mother (played by Kerry OMalley) and the disturbing looking father (played chillingly by Callum Keith Rennie) are giving nothing away, as they face the investigation.
Their child, Lillith, (played very ably by Jodelle Ferland) will not say; she wont utter a word, just stares with haunted eyes, until Jenkins separates them for a moment and speaks to the child, who finally whispers to Jenkins; her parents are planning to kill her.
But nothing can be done without some concrete proof. Lillith refuses to repeat her statement on tape, obviously terrified of her parents. So Jenkins decides to risk her career and a law suit, by breaking through the red tape, and into their house. What she sees only makes her feel more uneasy.
Then one evening, Jenkins gets a call from a terrified Lillith. Jenkins then begs her still unconvinced friend, Detective Mike Barron (Golden Globe winning Ian McShane), to help her break into the house to save Lillith from, what turns out to be, an unspeakably grisly and tortuous death, at the hands of her insanely determined parents. It is a scene few will forget, a moment of pure horror.
Jenkins consoling a terrified Lillith
Then, just when you think all is well, things start to go very, very wrong.
Jenkins is left with trying to find out what is really going on, as her world begins to fall apart. Jenkins learns that fear is evils ultimate tool of terror and dominance; but to defeat it, you must first garner the gumption to master it, in yourself!
Zellweger, as Emily Jenkins, gives a strong and credible performance as the caring social worker.
This is the American feature film debut of German director Christian Alvart, (he directed the European thriller Antibodies). The action scenes are shot well (D.O.P. Hagen Bodanski) and edited to a fine degree (Mark Goldblatt A.C.E.). The Production Designer, John Willet, paid a lot of attention to background details, like grimy walls around light switches etc, which heightened the reality and the creepy factor.
While not one of the most (continually) terrifying films I have experienced, there are plenty of moments to entertain and I can almost guarantee, a hell of a lot of people will find this film quite a scary ride.
PRODUCTION DISTRIBUTED BY PARAMOUNT PICTURES
AUSTRALIAN RELEASE DATE: NOVEMBER 5TH 2009
Production Details:
Directed by Christian Alvart
Produced by Lisa Bruce
Steve Golin
Alix Madigan
Kevin Misher
Written by Ray Wright
Starring Renée Zellweger
Jodelle Ferland
Ian McShane
Callum Keith Rennie
Bradley Cooper
Crystal Lowe
Music by Michl Britsch
Cinematography Hagen Bogdarski
Editing by Mark Goldblatt
Distributed by Paramount Pictures
Release date(s) New Zealand August 13, 2009
United States January 1, 2010
Running time 1 Hour 55 Minutes
Country United States
Canada
Language English
IMAGE and POSTER CREDITS: Poster designer unknown; all images used for film review purposes only for Paramount Pictures releases, Australia. Design credit will be acknowledged when informed of such.
Cheri played by Rupert Friend
What does a doting, yet also distraught mother do, when she sees her only son hell-bent on a dissolute and debilitating life of debauchery? Arising from slumbers late, hung over and surly, Chéri, (played by Rupert Friend) behaves like a lot of 19 year olds who are spoiled rotten and maternally (financially) dependant; he is egocentric and presumptuous; he gives little and takes a lot.
Madam Peloux (played by Kathy Bates) decides to appeal for help, asking her friend and once 'business' rival, Léa (played by Michelle Pfeiffer), to take her son under her wing.
Léa, who has known Chéri since he was a baby, (in fact, Léa nicknamed him Chéri, his actual name is Fred), is only momentarily shocked when the young rake kisses her, but then she kisses him back.
Madam Peloux played by Kathy Bates
So starts a torrid six year affair, with the mothers tacit blessings; one is left to wonder whether Madam Peloux sees the situation as, better the devil you know? However, an eventuality arises that cleaves the arrangement apart. Madam Peloux wants to be a grandmother and has found the bride, a naïve girl called Edmeé, (played by Felicity Jones), who is also the daughter of a successful prostitute.
This film is not set in todays world, but in 1906, in gorgeous Paris. We are taken into a world inhabited by the Grande Dames of the Belle Époque, the high class prostitutes of that era, who commanded great fees and notoriety, who promenaded in the most fabulous haute couture, yet they were shunned in polite society. They were the playthings of the extremely wealthy and the even wealthier nobility.
They were also known for their astute investments and once they reached retirement age, they enjoyed great privilege, yet still, they could only associate with each other for friendship. The wives of the nobility and the rich tolerated their husbands peccadilloes, as long as they didnt have to see it in their own social circles.
Lea played by Michelle Pfeiffer
This film is not a morality play, yet, in the world of the top class prostitute at that time, they had their own behaviour codes, within which they lived.
This tale, (based on two books written by the famous French author Colette, Chéri and La Fin de Chéri), delves into an affair between a young man and an older woman, with all the fleeting physical pleasures and emotional pitfalls that a large age gap will produce.
The film is beautifully shot, by D.O.P. Darius Khondji (A.F.C., A.S.C.), and seemlessly edited by Lucia Zucchetti. The production design by Alan MacDonald is superb; he dressed the main characters homes to reflect not just their exterior personality, but to subtly reflect their inner, occluded emotional world.
These high class prostitutes have long learnt the lesson; hide what you really feel and always present a calm, reasonable and accepting personality. Of course, between themselves, they like to tear small strips off each other.
The screenplay (by Christopher Hampton) is caustically witty at times, yet sparse enough to allow the actors and the director, Stephan Frears, (of The Queen and Dangerous Liaisons fame), to wend their craft, adding a depth and poise that otherwise would have not been achieved. The wonderful performances by Pfeiffer, Bates and Friend are played with an arresting, yet subtle force.
The physical love scenes between the older woman Léa and the younger Chéri does, at times, seem a touch superficial. Whether this is by intent, or because of a lack of chemistry, I am unsure; I would have to watch it again. However, this is far from a criticism, it is a testament to the complexity of the characters created, which only makes one want to see it again, to catch more of the emotional undercurrents within.
Cheri and Lea in an amorous clinch
Léa, a worldly woman, is the consummate player of men; yet it is her dalliance with the young Chéri that quietly unravels her inner emotional world, which in turn, is eventually the undoing of Chéri.
The settings, in art nouveau Paris and the incredibly beautiful costumes (designed by Consolata Boyle) make this a splendid production to see.
AUSTRALIAN RELEASE: ICON FILM DISTRIBUTION
RELEASE DATE: DECEMBER 2009
Production Details:
Directed by Stephen Frears
Produced by Bill Kenwright
Thom Mount
Written by Novel:
Colette
Screenplay:
Christopher Hampton
Narrated by Stephen Frears
Starring Michelle Pfeiffer
Rupert Friend
Kathy Bates
Music by Alexandre Desplat
Cinematography Darius Khondji
Editing by Lucia Zucchetti
Studio UK Film Council
Distributed by Miramax Films (USA)
Pathé (UK)
Release date(s) Germany:
10 February 2009
United Kingdom:
8 May 2009
United States:
26 June 2009 (limited)
Running time 92 min.
Country France
United Kingdom
Germany
Language English
Mrs.Vera Dinkle, Mary's mother.
This claymation film, Mary and Max, gives no illusions as to what its target audience is. Using the painstaking skill of stop motion photography, combined with the incredibly difficult animation technique of claymation (the animated art of hand sculptured movement) Oscar winning creative genius Adam Elliot, (the writer, production designer and director of Mary and Max), leads us once again into his darkly humorous claymation world
[ Click here to read more ]
DISGRACE
The screenplay was adapted from Noble Laureate J.M. Coetzees Booker Prize winning novel Disgrace, by Anna Maria Monticelli.
[ Click here to read more ]
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Comment by Mountain Fog
on The Imaginarium of Doctor Parnassus ($7-)
Infognito
QUOTE ME NO QUOTES!
I saw it in George Street, Sydney, in the VMAX thang. Last I was there, it was Hoyts!!!
You have a great weekend too!
cheers
fog