Showing posts with label Jean-Pierre Jeunet. Show all posts
Showing posts with label Jean-Pierre Jeunet. Show all posts

Tuesday, 29 March 2011

Delicatessen (1991)

A futuristic comic feast

Surreal expressionistic vision, as in The City Of Lost Children (1995), surprising and interesting in its fantastic story and weird visuals; enjoyably so. The Radio Times compares the vision to that of David Lynch or Terry Gilliam.

The protagonist, Louison (Dominique Pinon), is an unlikely but engaging and endearing character. The other characters are amusingly grotesque.

There are some very funny moments, such as when the butcher and wife's love-making is echoed by everyone in the building; also, when the protagonist and the butcher's wife test the bedsprings in a synchronised rhythmic dance-like sequence, echoing the previous love-making sequence; and when Louison comes to tea with the butcher's short-sighted daughter, Julie, who decides not to wear her glasses.

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Amendments: Removed link to Wikipedia-sourced image. Added ranking image.



The City Of Lost Children (1995)

Where happily ever after is just a dream.

Like an unrestrained French Terry Gilliam. Very unusual and original in almost all aspects: characters, story, production design. Outlandish and bizarre characters framed in hallucinatory closeups. Fantastical often industrialised settings. Interesting tropes from science fiction: clones, living brains, trained fleas with tiny artificial proboscises injecting victims with killer serums.

The two leads, Perlman's strongman and the girl, Judith Vittet, are very compelling. Ron Perlman of course great in Hellboy (2004). Vittet like a young Audrey Tatou. Even Perlman and the girl's relationship a bit iffy, a future legitimate romance, or if now, with paedophilic overtones?

Until we found out how to switch the DVD to French audio with English subtitles, we watched in the default audio setting of dubbed English which definitely spoilt the first half of the movie.

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Amendments: added year of release to the film "Hellboy". Removed link to Wikipedia-sourced image. Added ranking image.



Friday, 11 February 2011

Amelie (2001)

She'll change your life.

This is a wonderful film, a romantic comedy but not a genre film, set in the world of comic Jeunet grotesques (cf. Delicatessen, City of Lost Children).

The character of Amelie is something of a grotesque too, but made mainstream (= commercial) by the actor Audrey Tatou's personal charm and good looks, which provides a relatively normal access point, or point of view (POV), for the viewer. Switch Tatou for a less winsome, odder-looking young woman, and Amelie would be more unavoidably an eccentric amongst grotesques.

The stakes couldn't be higher. From the beginning, we are shown that Amelie is a young woman whose character has been been formed by an unusual childhood, which has given her an eccentric outlook on the world. As an adult, she now occupies a world of eccentrics, none of whom has been able to fully realise themselves, each one compromised by some flaw or circumstance. And we understand that Amelie herself is ultimately in terrible jeopardy, for unless something or someone changes the course of her future, she will share her neighbours' bleak fate, becoming like them a disappointed or embittered or damaged grotesque.

In many respects, Amelie is a modern version of Jane Austen's Emma: busy making matches between lonely people, and trying to bring hope and /or happiness to sad people, but reluctant to risk reaching out to seize happiness for herself. She is good at clever "schemes" but always at a distance, anonymously.

Jeunet uses every trick in the book to keep things fresh and surprising and delightful: ironic voice over, magic realism, breaking the fourth wall with direct looks and performances to the audience, speeding up sequences.

There is a wonderful mystery involving photo booths, like one of those logic problems people used to tease you with.

The sub-textual values of the film are to be cherished: art for art's delightful sake rather than commercial gain, although that message may be slightly ironic given the film's strong commercial appeal.

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Amendments: Added writer tag: "Guillaume Laurant"; actor tags: "Mathieu Kassovitz, Rufus, Claire Maurier, Isabelle Nanty, Dominique Pinon, Serge Merlin, Jamel Debbouze". Removed link to Wikipedia-sourced image. Added ranking image.