Amelie
- Submitted by: JmonqiueS
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- Category: English: Plays
- Date Submitted: 10/27/2013 01:57 AM
- Pages: 2
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The inevitable journey from innocence to experience requires fortitude; it challenges but can also inspire and encourage.
Jean-Pierre Jeunet’s critically acclaimed 2001 French film, Amelie explores the lonely voyage of a young, inexperienced girl to a mature, young woman. However, as her name suggests (Poulain is French for foal) along the way she struggles to find her feet just as many young people fumble through their first intimate experiences. The final scene of Amelie is fundamental in allowing the viewers to ascertain the ways in which Amelie has transformed from an immature and innocent foal to a woman who is confident and assertive enough to surge into a passionate relationship with the man she has been longing for, Nino.
Niño and Amelie take a romantic fun filled motorcycle ride through the backstreets of Paris; the verisimilitude of the camera movements mirrors the fact that they are both heading into unknown territory. Parallel right tracking shots are deliberately bumpy to remind viewers perhaps of the charm of cobblestone paved streets but more importantly, that love can be a turbulent road.
The jerkiness and inconsistent focus of the camera symbolizes a contrast between the protagonist, Amelie’s past life as a controlled and tightly strung person with very little emotional interaction, and her newfound connection to another human being which has allowed Amelie to let herself be free to feel emotions, take a risk and accept the imperfections of her world.
The joy of love transforms Amelie from a reserved, serious young woman into a living, sensual character who allows other people to form a special bond with her, signifying maturity.
A postmodern device Jeunet uses extensively throughout the film is Amelie addressing the viewer directly. This is colloquially known as “mugging”. The protagonist will look at us, as if we are in on the joke or the perversity she has observed. This technique is an easy way for Jeunet to focus the narrative on her...
Jean-Pierre Jeunet’s critically acclaimed 2001 French film, Amelie explores the lonely voyage of a young, inexperienced girl to a mature, young woman. However, as her name suggests (Poulain is French for foal) along the way she struggles to find her feet just as many young people fumble through their first intimate experiences. The final scene of Amelie is fundamental in allowing the viewers to ascertain the ways in which Amelie has transformed from an immature and innocent foal to a woman who is confident and assertive enough to surge into a passionate relationship with the man she has been longing for, Nino.
Niño and Amelie take a romantic fun filled motorcycle ride through the backstreets of Paris; the verisimilitude of the camera movements mirrors the fact that they are both heading into unknown territory. Parallel right tracking shots are deliberately bumpy to remind viewers perhaps of the charm of cobblestone paved streets but more importantly, that love can be a turbulent road.
The jerkiness and inconsistent focus of the camera symbolizes a contrast between the protagonist, Amelie’s past life as a controlled and tightly strung person with very little emotional interaction, and her newfound connection to another human being which has allowed Amelie to let herself be free to feel emotions, take a risk and accept the imperfections of her world.
The joy of love transforms Amelie from a reserved, serious young woman into a living, sensual character who allows other people to form a special bond with her, signifying maturity.
A postmodern device Jeunet uses extensively throughout the film is Amelie addressing the viewer directly. This is colloquially known as “mugging”. The protagonist will look at us, as if we are in on the joke or the perversity she has observed. This technique is an easy way for Jeunet to focus the narrative on her...