Some of these camera movements are really awesome, not only from a technical point of view, but moreover from an aesthetic standpoint. When Amélie sits in front of the station, we see her in a long shot, the camera dollies in to fly over her head to an over-the-shoulder shot. The camera follows her, then turning almost 180° around her to show her hold Nino's red bag that he lost. Amélie is entering the picture running after Nino. Still in a low angle Nino starts his moped, trying to follow the worker, almost hitting a car. The camera turns to show the man getting in the car driving off. Nino is shown falling up the steps chasing the repairs person for the photo machines. Another one worth mentioning might be the chase of the repairs person. The camera shows her leaning on a fence, flying above her head then craning to a low angle shot to show her flipping stones in the direction of the camera. For example there is an astonishing high angle shot of Amélie flipping stones on le canal in Paris. But more impressing are some camera movements. When talking about his dislikes, the shots are unbalanced. The same can be about the first shots of Amélie's father. Right in the beginning when Amélie's mother is introduced, the picture is balanced symbolizing her pursuit for correctness and cleanliness. Balanced and unbalanced pictures contribute to the message of each shot. Camera movement certainly contributes its part to the atmosphere. The music supports every moment in the film and becomes the sound of a fabulous world. The principal motive appears in many variations somehow being joyful, yet at the same time sad - slow and sometimes fast and activating. The atmosphere is also supported by the magnificent music by Yann Tiersen who has composed 19 songs in 15 days for this movie. I just wondered how Jeunet succeeded in establishing such a fabulous atmosphere. Honestly, I haven't noticed the extreme use of color the first time I watched the movie. Amélie's apartment for example is almost completely red, the underground station and the train station are kept in green and the green grocery store stands out from the grey buildings. Sometimes the use of color gets very obvious. When Amélie Poulain sits down to watch the tragedy of her life on her TV, there is an outstanding of a blue lamp in the background. Audrey Tautou (Amélie Poulain), mostly wears either red or green dresses, as well as the housekeeper (Yolande Moreau as Madelaine Wallace, concierge), and Amélie's mother (Lorella Cravotta as Amandine Poulin) in the beginning of the film. To establish a dreamlike atmosphere they used mostly red and green, sometimes adding a little blue spot in the picture to set the contrast. Jean-Pierre Jeunet and his camera man, Bruno Delbonnel, wanted to make the film look like the Spanish painter did his artwork. Thanks to Jean-Pierre Jeunet I had a wonderful dream, I will never forget. We seek to escape our normal world just for a short period of time, to experience something totally different and yet, we want to find ourselves in this world. We sit for over one-hour and comfortable chair - our breath slows down and as the lights are switched off, we enter a dream world. In my opinion, it is an outstanding film in film history for its cinematography, the music, the story, but above all the overall atmosphere. I consider Jean-Pierre Jeunet's film as a masterpiece. Unfortunately the film didn't win an Academy Award for the best foreign film in 2001 which still puzzles film fans all over the world. But it's popularity was even a surprise to Jean-Pierre Jeunet himself as he once stated: `I guess I have to produce a film like Alien Resurrection (USA 1997) to make a movie like Le fabuleux destin d'Amélie Poulain', obviously not aware of the films potential. Jean-Pierre Jeunet fell in love with the story and the film he titled Le fabuleux destin d'Amélie Poulain. And on top of everything she has an adorably cute face.Short analysis on Jean-Pierre Jeunet's Le fabuleux destin d'Amélie Poulain For 20 years Jean-Pierre Jeunet collected small astonishing and intriguing moments in his life, taking notes in his diary, not knowing that he was up to co-write and direct one of the most successful film in French film history. She has perfect youthful skin, small perky breasts, a tiny waist, and a cute little butt. Russian nude model Amelie perfectly combines innocence and eroticism.
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