A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, July 20, 2019

Amélie (Jean-Pierre Jeunet, 2001)


Cast: Audrey Tautou, Mathieu Kassovitz, Rufus, Lorella Cravotta, Serge Merlin, Jamel Debbouze, Clotilde Mollet, Claire Maurier, Isabelle Nanty, Dominique Pinon, Artus de Penguern, Yolande Moreau, Urbain Canceller, Maurice Bénichou, Michel Robin. Screenplay: Guillaume Laurant, Jean-Pierre Jeunet. Cinematography: Bruno Delbonnel. Production design: Aline Bonetto. Film editing: Hervé Schneid. Music: Yann Tiersen.

Amélie is a charming film, but I have to admit that I'm immune to its charms, finding it a bit self-conscious and much too aggressive in thrusting them upon us. It was a huge international hit, however, and remains a favorite of a lot of people whose taste I trust. Chacun à son goût.
Posted by at
Links: , , , , , , , , , , , ,

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)