DIRECTOR: Jean-Pierre Jeunet
PRODUCTION: Fra / USA - 2004 - Drama
LENGTH: 134 '
CAST: Audrey Tautou, Gaspard Ulliel, Albert Dupontel, Jodie Foster, Lanners, Thierry Gibault, Jean-Pierre Darroussin, André Dussolier
Screenplay: Guillaume Laurent - JP Jeunet (novel by Sebastian Japrisot) PHOTOGRAPHY: Bruno Delbonnel
DESIGN: Alice Bonetto
ASSEMBLY: Hervé Schneid
COSTUMES: Madeline Fontaine
MUSIC: Angelo Badalamenti
Plot:
Mathilde lost in war her boyfriend, who started two years earlier for the front. Despite reports to the contrary she is convinced that he is still alive and doing everything to find him.
Reviews:
Love that never dies :
At the time I did not understand the widespread resentment against AMELIE, a work that was the only defect of being clever than some Hollywood movies but bill of well over a substrate and with plenty more cultured. The following AMELIE while thematically is less risky (Jeunet takes refuge in the pages of a novel) is definitely more risky in the development and in the outcome. The melodrama of the fund, as well as the content - clearly pacifist - are, in fact, more than in his popular predecessor, a mere pretext, sufficient to fit the author's method recognizable here, then, that under the distorting lens of the director, the film opens divagational one thousand tracks, history center being the center of many streams branching narrative - some only sketched, others continued and developed in a continued use of flashbacks (and flashbacks of flashbacks) real or assumed - that tone of literature for the slight craziness reminds Queneau the methodical and maniacal in Perec. The beginning of the film is in this sense almost programmatic and sketched the story of five characters by following cardinal the story from multiple perspectives, as will (of course our thoughts go to Kurosawa) for the blast mowing the Albatros-Manech Fiordaliso, while the film runs on the track of the memory of a mythical time and postcard that unfold in environments fairy tale (the home of the protagonist) and where the border with the commercial awareness is more often exceeded (the arrival of the postman, tasting the delicacies prepared by your hostess, the catchy word). In this sense, the care of the décor, perfectionism, which controls each sequence, the register does not restrict the (moving from movie footage all'onirismo made - brilliantly - in the form of silent film), the use a human and a digital photo and turn saturated, while mania may appear sickly and, precisely, blatant advertising, the other representing the perfect rendering of a poetic and visual imagery in obsessive detail, expressionism , vintage, modern antiques and bric à brac are the masters. The story goes while playing with destiny, a destiny which the protagonist, mad love (the same Amelie, in his permanent happiness for all, was not she too, in its way, a mentally unstable?) Tries to grab hair and bend to his will (the beloved must be alive and Mathilde is keen to point out that it is not persistent but of hope - Hope is the normal form of delirium, he said Cioran -) and that scattering traces and clues that will be consistently recovered and put into context, it is up a catalog (nearly Luperi) of characters, the most diverse (confused - in comparsame - even Jodie Foster). Perhaps there is nothing really new in this, if not the perfect setup for that method described above (and PellesC wittily AMELIE hoped that at the time of the eye that the director was still a prisoner of megaproduzione castrating - as in ALIEN RESURRECTION -, finding in this discipline it needed to give their best), probably to the theoretical construction basic element of the work is striking (Greenaway docet) so as to freeze the melodrama (but we are sure, the author had every intention), maybe two hours and passes control of affectation end up being too much (but better of any, pallosissimo Gilliam, who, in many ways, we can approach the French), perhaps the way Jeunet has reached its peak and now seriously threatens the sterile exercise, but in the face of such anonymous mass of celluloid, the ' A VERY LONG ENGAGEMENT operation, with all its faults, is still welcome greeting.
[Luca Pacini]
PRODUCTION: Fra / USA - 2004 - Drama
LENGTH: 134 '
CAST: Audrey Tautou, Gaspard Ulliel, Albert Dupontel, Jodie Foster, Lanners, Thierry Gibault, Jean-Pierre Darroussin, André Dussolier
Screenplay: Guillaume Laurent - JP Jeunet (novel by Sebastian Japrisot) PHOTOGRAPHY: Bruno Delbonnel
DESIGN: Alice Bonetto
ASSEMBLY: Hervé Schneid
COSTUMES: Madeline Fontaine
MUSIC: Angelo Badalamenti
Plot: Mathilde lost in war her boyfriend, who started two years earlier for the front. Despite reports to the contrary she is convinced that he is still alive and doing everything to find him.
Reviews:
Love that never dies :
At the time I did not understand the widespread resentment against AMELIE, a work that was the only defect of being clever than some Hollywood movies but bill of well over a substrate and with plenty more cultured. The following AMELIE while thematically is less risky (Jeunet takes refuge in the pages of a novel) is definitely more risky in the development and in the outcome. The melodrama of the fund, as well as the content - clearly pacifist - are, in fact, more than in his popular predecessor, a mere pretext, sufficient to fit the author's method recognizable here, then, that under the distorting lens of the director, the film opens divagational one thousand tracks, history center being the center of many streams branching narrative - some only sketched, others continued and developed in a continued use of flashbacks (and flashbacks of flashbacks) real or assumed - that tone of literature for the slight craziness reminds Queneau the methodical and maniacal in Perec. The beginning of the film is in this sense almost programmatic and sketched the story of five characters by following cardinal the story from multiple perspectives, as will (of course our thoughts go to Kurosawa) for the blast mowing the Albatros-Manech Fiordaliso, while the film runs on the track of the memory of a mythical time and postcard that unfold in environments fairy tale (the home of the protagonist) and where the border with the commercial awareness is more often exceeded (the arrival of the postman, tasting the delicacies prepared by your hostess, the catchy word). In this sense, the care of the décor, perfectionism, which controls each sequence, the register does not restrict the (moving from movie footage all'onirismo made - brilliantly - in the form of silent film), the use a human and a digital photo and turn saturated, while mania may appear sickly and, precisely, blatant advertising, the other representing the perfect rendering of a poetic and visual imagery in obsessive detail, expressionism , vintage, modern antiques and bric à brac are the masters. The story goes while playing with destiny, a destiny which the protagonist, mad love (the same Amelie, in his permanent happiness for all, was not she too, in its way, a mentally unstable?) Tries to grab hair and bend to his will (the beloved must be alive and Mathilde is keen to point out that it is not persistent but of hope - Hope is the normal form of delirium, he said Cioran -) and that scattering traces and clues that will be consistently recovered and put into context, it is up a catalog (nearly Luperi) of characters, the most diverse (confused - in comparsame - even Jodie Foster). Perhaps there is nothing really new in this, if not the perfect setup for that method described above (and PellesC wittily AMELIE hoped that at the time of the eye that the director was still a prisoner of megaproduzione castrating - as in ALIEN RESURRECTION -, finding in this discipline it needed to give their best), probably to the theoretical construction basic element of the work is striking (Greenaway docet) so as to freeze the melodrama (but we are sure, the author had every intention), maybe two hours and passes control of affectation end up being too much (but better of any, pallosissimo Gilliam, who, in many ways, we can approach the French), perhaps the way Jeunet has reached its peak and now seriously threatens the sterile exercise, but in the face of such anonymous mass of celluloid, the ' A VERY LONG ENGAGEMENT operation, with all its faults, is still welcome greeting.
[Luca Pacini]
Life is a novel
is not the nostalgia of the past to suggest the translucent surface on which to run the headlines: a cast of more than meatloaf love and war one (s) lost golden age, Jeunet's new work is an explosion in style Amélie. It is not only the presence of Audrey Tautou to allow the comparison: a long dimanche de fiançailles (the engagement must be replaced, in the Italian title, a general passion) is a quasi-remake of the earlier film, serving as part of a research a "treasure box" (containing the last shreds of life of a group of men devoted to death), involving / upsets diverse lives and lands in a stunted, yet wonderful, loving joy. After an introduction conveniently frowning (some weighed down by too many blinking in Paths of Glory), the film flaunts its exuberance sovereign creating a magic lantern filled with specks of Visp and enchanted sea, traveling through time and space with the soft rush of voice over, making the rectangle of the screen fragments of expression between the Gothic and Art Nouveau, piling up and flipping through pictures and sounds with a meticulousness that slips into a gentle madness (Bénédicte dixit). The visual splendor, rich in detail icy and unnatural (the bizarre prostheses used by the characters in their own personal treasure hunt) is undeniable, but if some sequences offer pearls of elegance (the reluctant lovers) and dried voltage (the hospital in the hangar, with the disaster underscored by a fart mechanical), and other heavy sound far-fetched (the Verdi of revenge against 'officer in default). The irony quite often loses his way home, the tenderness does not always fill the gap. Is not, by Jeunet, one step back, but all in all a break and enjoyable rather comfortable. Best, however, the direction of the colorful cast, which features a delicate Foster of despair.
[Stefano Selleri ]
Comments :
Area readers:
From the novel by Sebastien Japrisot Jeunet's latest film, with the shadow of Amélie to wander (though in a more painful) in this strange and captivating film noir of war. 1917, five men on the front of the Somme are injured to return home, instead of ending court-martialed and then thrown in the trench, the so-called ultimate fighting coward. Mathilde (Audrey Tautou in an intense), not getting any news from her boyfriend Manech (just an honest Gaspard Ulliel), will start his search. Dreamer, naive inventor of all personal superstitions (Amelie played with proverbs), seeks obsessive clues scattered like a treasure hunt but written with too many sheets. Atmosphere charming and terribly realistic, painstakingly minute details, a judicious use of digital technology (which among other things makes a big Paris, thanks also to the beautiful photography of Bruno Delbonnel), the practical realization of so many great ideas and original (rather, only convincing case already heard the music of Angelo Badalamenti) ideas, however, only partially contribute to the construction and evolution of a story, indeed rather ragged and heavy to be followed. At one point, in fact, you lose the road and we are entrusted to a director, but with the anger of those who wanted to walk from the film alone. E at the end when the narrative balance is compromised by too many names, too many faces, too many sottostorie, you lose interest in knowing if Manech is alive or dead. But when the attention dies down at times, never sleeps as in some Italian movies (I do not know, we want to talk about "Crystal Eyes" by Puglielli or favorite "I Can See in the eyes" of Santella? Still waiting for the next Calopresti and Piccioni, of course).
[Andrea Battantier]
piccolopiccolo ^ This is a film as a kind of card that you almost get lost in your pocket. Trat tasi a history of difficult, however slight, runs on the eyelids.
The color is once again becoming the bone of cuttlefish (think Delicatessen) and the size is, as is typical in Jeunet, almost fable-like and almost devoid of Time.
The melodies of Badalamenti then reconfirm the effects and the pathos - then I wonder about the quick step or less from Lynch to Jeunet. Paris also seems to be better dressed than usual ... beautiful picture of a crowd crowds before, after a solitary portrait.
Certainly the love here is more concrete, almost on the side of Boccaccio, but no less milk & mielecaldo. ^
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