![]() The resulting movie is one that most adults the world over will respond to, a fairytale for grown-ups (also considering the devastating WWI setting, it's even more grown-up than both Delicatessen, which IMO was too cartoonish, and Amèlie, too artificial and pleased with itself - like a small, furry creature such as a squirrel prancing around and being well aware of its own cuteness). A feast of visual humour we can trace right back to Delicatessen and a collection of interwoven, snappy little stories from endearing or comic minor players, could render the movie Disneyish (The way Les Choristes was) had Jeunet failed to also blend into the cake mix two helpings of darkness to one of sex: he does exactly the same thing in both Amèlie and Delicatessen. ![]() A collection of memorable stills, beautiful enough to be made into pictures to hang on your living-room wall, are the carriers of a compelling story with a universally accessible poetry, both visual and verbal (which alas, is too often spelt out by a persistently meddling voice-over a narrator, just like in Amèlie just in case you weren't paying attention to ALL the little quirks, jokes and poetry). Immediate, attention-grabbing snappy editing is also a speciality of his. Right from the opening shot of a broken Christ statue dangling off a cross that's been blown to bits in a muddy WWI trench, you are reminded of how well director Jean-Pierre Jeunet has understood the importance of masterful cinematography. And I must say that overall, I preferred Un Long Dimanche de Fiançailles. I'm actually one of those people who found Amèlie delightful on first viewing, and more than a little irritating on second viewing two years later. Instead, I will blend entertainment with art, whatever that may mean, or with its artistic integrity my usual method of evaluation for movies. If I were to judge this movie solely on its entertainment value, I would have awarded it a 9 out of 10.
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