All the people in the film seem a little different, even the heroine Ai Mei has a seemingly gloomy childhood, always withdrawn father, autistic and melancholy neighbor old man, betrayed by the boss's mean vegetable vendor, and betrayed by the deceased husband. The landlady of, the old landlord who lost his childhood utensils, the coffee shop colleague who is frustrated in love. Everyone plays different roles in life, but these people in the film should all belong to a different kind, because their spiritual world needs the most care, and Aimei plays precisely such a role. When everyone in the film finally got rid of their original life and got happiness, I gradually understood that, in fact, each of us has a kind of loneliness of our own, but too many of us don’t understand what we feel, so I still have to live in my own world. Only in this way can I no longer be alone like I am beautiful. Life is really beautiful, even though it is sometimes unsatisfactory.
2. Poetic scenes.
As far as the pictures and sound effects are concerned, the director uses bright and saturated colors and surreal colorful styles to form love with Yang Tilson’s layered piano, violin, accordion, drums, harmonica and other instruments. A beautiful and whimsical world of images. The color of the entire film is full of changes. From the moment of adulthood, the picture is shrouded in a very strong low tone. The details of the character's face are natural, but the color is as strong as an oil painting. The lens is also very flexible to use, which outlines the romantic atmosphere unique to France, bold, warm, bold but not exaggerated.
In this film, the use of parallel, cross, and accumulation montages can be seen everywhere, as well as the upgrading shots and downgrading shots. For example, when Aimei falls into fantasy, various cross or parallel shots will appear. The thing that worries me most in the movie is that Love Beauty returns home with extreme sadness, feels sorry for the mirror, and dreams of her lover looking for herself when making cakes, ran across the street, ran up the stairs, and finally opened the curtain behind her and embraced herself in Huai, but the final result is that everything is just an illusion, and the door curtain is only touched by the cat. This passage generally adopts a parallel montage technique, Aimei faces the mirror, behind which is the interweaving of real reality and fantasy dreams that are also true and illusion. The final fantasy is broken, and the protagonist falls into grief once again. The filming of this segment is more beautiful and freehand, and at the same time it breaks through the main comedy atmosphere created above. It perfectly expresses the sad but expectant psychological characteristics of Aimei at this time. Such exquisite passages abound in this film. They are interspersed and combined to form this successful romantic fantasy film. It can be said that both senior filmmakers and general audiences can find their own happiness in this film. .
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