Compare Prices on Tales from the Crypt: The Complete Seasons 1-7
I remember watching Tales From the Crypt when I was younger, and decided to salvage the whole 7 seasons. Some seasons seem a whole lot better than others but overall it is a first-rate purchase and will maintain you entertained for a long time!
Very corny but was a gargantuan note when I was a kid and I styill admire it now
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Compare Prices on The Adventures of Indiana Jones – The Complete DVD Movie Collection
George Lucas produced something other than Star Wars? The younger crowd may not be aware of this, but anyone like me growing up in the 70’s -80’s would. The answer: Absolutely! (We can forget & forgive his mid-80’s mistake “Howard the Duck.”)
This collaborative trouble from Steven Spielberg & George Lucas brought unusual life into the action genre. It is equally well-known to remember that the films also propelled Harrison Ford from Star Wars’s loveable “scoundrel” to a silver veil staple. Here is my choose on the series so far (barring Indiana Jones 4 which is on & off…hopefully off due to Ford’s age and the closure in “Last Crusade.”)
Raiders of the Lost Ark:
From the intro Paramount logo shifting into a valid mountain, to the mishaps in recovering the golden idol from the temple, “Raiders” attractive remarkable dwelling a tone for what was to approach -action. What it brought in after the opening sequence is something not often seen in action movies -story. Not unbiased tale, mind you, but bright chronicle (dispelling the anecdote that audiences are tedious.) It is an awkward discover to sight Jones transformed from the adventurer to the lecturer, until he is told of The Ark of the Covenant -supposedly holding The Ten Commandments and a source of ultimate power -and chases after it. The rest & primitive are long embedded in film history. The Nazi’s are after it as well and Jones has the fight of his life.
Interesting points:
The attractive Karen Allen (Starman) portrays Marion (who I personally would like to have seen resurface in later films) and the rolling boulder (reminiscent of the asteroid thundering through a starship in 1979’s B-movie “The Dusky Hole.”)
Indiana Jones & the Temple of Doom:
For me, this was the oddball movie. Jones saves child-slaves from an snide cult. That’s about as well as I can sum it up. It fails its predecessor and succumbs to mediocre “sequel fever.” I don’t put a question to everyone to section my idea, nor do I want you to. All-in-all, it’s a high action flick and will pass some time well, even with the miscast future Mrs. Spielberg -Kate Capshaw (Spot Camp) .
Interesting points:
The meander through the mine is an piquant thrill-ride and the tension of bridge scene afterwards makes up for the lower points of this movie.
Indiana Jones & the Last Crusade:
To area this movie alongside the first would be justice served. Here is the return of the sparkling epic and type of action/drama mix that resurged the Jones Saga. It opens with young Indiana Jones (River Phoenix, “The Mosquito Skim”) stealing a lost artifact from a band of robbers. Ultimately, he is too young to thwart them; however it reveals the character of Jones from an early age and introduces his father, Henry (Sean Connery) . Now, snappily forward to the Jones we have reach to know and Jones is trying to collect his father who went searching for the Holy Grail. The movie is a whirlwind trot through Biblical History and pure adrenaline pumped action. The chemistry between Ford & Connery shines throughout the exotic locations and explosions providing humorous relief as worthy as back-story. I can’t say enough about this film, so I will cessation here.
Interesting points:
So worthy is revealed in this movie, from the origin of the name “Indiana,” to the deepest parts of each character (something rarely seen in films -character depth.)
DVD Extras:
Fortunate enough to have seen it (and I admit I’m not that great of a fan of these DVD revelations on the making’s of the movie because it oftentimes destroys the fantasy of it all) I have to bend and declare you it is worth it. The new trailers are humorous (they weren’t at the time the movie came out and I mean that in no disrespectful draw) and a high-tail down Nostalgia Lane. One thing that sets this apart is that the documentary is not monotonous. Most are in DVD Extra-discs (probably because current movies have no right history -save maybe for The Matrix.)
Final Note:
For the cost, quality (remastered, et al.,) this is one box situation that I am joyful to comment on and also, one that I enjoy was done upright and released just. (Check out other trilogy box-sets, which I won’t name here, and you’ll collect so many versions and “Director’s Cuts” that you’ll be baffled at what to steal. This plot is complete…tiring, & simple. Enjoy
I read the first 70 reviews of the DVD 4-pack. I would like to comment on some comments.
1. Unfavorable disks? All 4 of mine played flawlessly – on a $60 player.
2. Unpleasant sound and relate? Mine looked and sounded expansive (although only on basic stereo TV) .
3. Paper tag on succor cheap? Yep. Pulled it off and threw it away. So? Some other expensive DVD’s I’ve bought came the same method.
4. Missing rat scene? Mine had it. A particular reviewer gave a 1-star rating based on a “missing” rat scene.
5. No commentary or deleted scenes? Nope. Some people seemed surprised (after they bought it) . If you can’t read an advertisement (or cheap paper trace) BEFORE you remove something, perhaps you should not be trusted with a credit card.
Truthfully, commentaries are over-rated in general, although I like them. The pickle is that the commentor is constrained by time as the movie plays along – should he only earn short 5-second comments about certain and insignificant things (“this is where the head explodes”), or a 2-minute oration about some specific point while the movie leaves him unhurried? The documentaries on the bonus disk allow as distinguished time per subject as needed (more or less) .
6. One “reviewer” said nothing about the movies or DVDs themselves but instead went off on a diatribe about how full-screen movies are in fact some kind of rip off due to “widescreen only” TV’s in the next few years. Apparently (I’m inferring) this will cause (gasp!) sad bars at the side of the veil rather than top. OK…
7. Another “reviewer” who has not actually seen the DVD’s wrote about having to return them because he bought the full-screen version by mistake, not lustrous there was a wide-screen version. Hmmm. It has “widescreen” or “stout shroud” in the title, too.
8. Another “reviewer” complained that he likes full-screen formats because he has a 4:3 TV and apparently the bars on widescreen versions are annoying. Did you know that if you had a widescreen TV, you would have plastic TV at the top and bottom instead of dismal bars and glass? This one made no sense, but he was from France, so OK:-)
9. The one guy I CAN portray to claimed this position was a rip-off because he only wanted ROTLA and notion the other movies were terrible. I would not call it a rip off – you don’t have to take it, dude – but I, too, was only fervent in ROTLA, but figured the bonus material would be edifying enough to warrant the other disks. Honest barely. ROTLA is marvelous. TOD is almost unwatchable due to the character of the shrimp kid. I concept LC was marginal, saved only because it had Nazi’s again.
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Compare Prices on Grindhouse Classics Two-Fer
Two obscure aged school drive in panic, hard to win in any beget now presented in a two for one splendid deal package effect. Worth it for the very odd ” The Witch that came from the sea ” alone. Again a very nice job by Subversive Cinema with these hard to derive titles.
Two titanic movies at one astonishing rude note. As I am you will be very ecstatic with this prefer.
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Compare Prices on Revolutionary Girl Utena – The Apocalypse Saga Collection
The final four disc in the Utena storyline continue the recent memoir of our hero Utena while further developing the other characters as well. While not containing some of the funnier moments embedded in The Dusky Rose Saga, the Apocalypse series focuses on bringing the viewer deeper into the history of Utena and it’s deeply enthusiastic mythology. The record line can become a dinky confusing come the raze but the series wraps up in a touching and ultimately satisfying slay. The Apocalypse Saga will leave you ecstatic for the experience and the best allotment, it will leave you wanting more of this good saga.
The roses, an excess of pink, incredibly feminine designs for all the characters (including the male ones), and its rather clear artistic style may turn some viewers away from Utena. It almost kept me from watching it, at first. But for some reason I bought the first DVD, and I have never regretted it.
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Utena is a uncommon display. You realize that within the first episode. It is surreal, dreamlike, and yet though it may seem random at times, there is blueprint to the madness. It begins with a girl who met a prince when she was young. He gave her a ring that would lead her to him when she grew up. So impressed was she by him, that she decided to become a prince herself. Now that girl, Utena, dresses in a boy’s uniform and attends a school where all is not what it seems.
The accurate strength of Utena lies in its characters. There is a tremendous cast, and each character’s motivations and emotions are explored in different episodes. These are not the cardboard cutouts you gain in a lot of anime; they are complex people, and their individual tales are often poignant. Utena also boasts one of the best villains I’ve ever seen in anime, rivaled only by Berserk’s Griffith. It is a brilliant expose, with a lot of depth. There’s also some humor in it, and for people who like battle (like me), there are duels every episode or so. Usually these fights are fairly predictable, but they’re composed fun to discover.
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The last arc of the demonstrate has one of the best finales in any anime. It may leave the viewer a bit confused; but the dreamlike quality of the present is old-fashioned to very well-behaved attain here. For anyone who likes well-developed characters, something a small different from usual, a qualified storyline with actual substance to it, Utena is an kindly anime.
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Compare Prices on The Third Man
It was with large anticipation that I viewed The Third Man recently. I had last seen it nearly 25 years earlier. At the earlier viewing I was impressed with the atmospheric treatment of Vienna and the mystery surrounding Joseph Cotton’s search for the truth about his friend Harry (Orson Wells) . However, though I then plan of it as a very splendid movie, I did not deem it would scandalous in my top 20. Now I gawk what I missed as a younger person. I can also peruse why this film would base as number one on a British list of greatest films of the 20th century.
The film is a surreal examination of the tension between loyalty, care for, and friendship on the one hand, and truth and justice on the other. The Viennese are suffused with the cynicism of a destroyed continent and damaged culture. The British know only about the truth and justice side of the equation. The American writer of simple westerns smooth is naïve enough to care about friendship and truth, and follows both wherever they lead. At the same time, Carol Reed scarcely shoots a scene in which there are moral angles. Nearly everything is tilted. Close-ups of faces exaggerate their features. The dusky and white of the film emphasizes the dark nature of the memoir and its suitable underpinnings.
At first Holly Martins (Cotton) thinks he is helping his best friend, Harry Lime (Wells) . At the same time he becomes Harry’s rival for the woman, Anna. When Harry realizes that Holly has discovered his proper nasty diagram, Harry has a chance to slay Holly and build it witness like an accident. What stops him? Friendship? And why does Harry catch Holly’s invitation to meet? In the penultimate scene in the underground sewer tunnels, does Holly fire the final and fatal shot, or does Harry destroy himself?
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This magnificently filmed and wonderfully acted masterpiece has remained in my mind for days after seeing it. If you are a lover of cinema and not merely of movies, please salvage this classic. It richly deserves its reputation. Highly recommended.
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Who was Harry Lime (Orson Welles)? An outrageous man, devil in the flesh who was responsible for the unspeakable crimes, yet quick-witted, happy and charismatic. His most well-known words, a short speech written by Welles himself, say a lot about his character and motivations:
“In Italy for 30 years under the Borgies they had warfare, anxiety, abolish, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly adore – they had 500 years of democracy and peace, and what did that construct? The cuckoo clock.”
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No wonder, we like him, even though we know what he’d done…
It has been said thousands of times about the greatest movie entrance ever – but what about his ‘exit’ – the fingers on the street? I assume it is one of the greatest, too…
A pleasing mysterious girl with tragic past was in worship with him and the unforgettable ending, so anti-Hollywood, so apt to the film – was about her savor that goes beyond the grave. I read that both Selznick (the producer) and author Graham Greene had initially argued for something more upbeat (Holly and Anna walking off arm-in-arm), but Reed disagreed. I am so jubilant that Reed won (I am determined millions of fans are, too) . That was the device to achieve the movie and acquire it powerful more than objective typical noir. Makes the viewer consider about savor, friendship, betrayal, loyalty, the notice one pays for them.
Amazing film – perfectly shot; almost flawless. It looks and feels like Welles himself could’ve made it. The influence of Citizen Kane is undeniable. The only plight I had – the music. I like it but it was very uncommon to hear it in the film like The Third Man. Maybe that was a purpose – instead of somber, mopish, and ominous music that would be expected for the noir film, something completely different and out of area – satisfied but dismal in the same time…
Criterion DVD is improbable – the restored version of the film shines. There are two openings of the film available – British and American, and a lot of extras.
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Buy National Geographic – The Madness of Henry the VIII At Amazon!.
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Compare Prices on National Geographic – The Madness of Henry the VIII
This was a real-world representation of his monarchy. It concentrates on how the king started out as an agreeable statesman and devout Catholic, but how his philandering and desire for a male heir (along with snubbing the church) led to his downfall. So what if the lady faded the B- word? Rep over it! This is the 21st century, and she was lawful. As for the reference to the fact that all of the people were interviewed were Americans again I say so what? I happen to assume that some aspects of European histroy distinguished more enchanting that American history. Is the reviewer attempting to imply that Americans are not friendly to comment on British history?
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Like I said, the chronicle was heavenly suitable, I have read many books on the subject. The tension between Boleyn and Wolsey was depicted very well. The only scrape I have is the fact that they spent so remarkable time on Katherine and how Henry was scheming to obtain rid of her that even the conflict with Ann (by far the most challenging) took a assist seat, and his last four wives were crammed into about 30 minutes. Either the piece with Katherine should have been shorter or the documentary should have been longer.
Just one American’s understanding,
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EW
I was mad to gaze this DVD due to the beneficial reviews, but was quite disappointed. I should launch by saying that I didn’t beget it past Anne Boleyn because I found it so poor, but here is my review of the first half.
The reviewer before me who said this documentary is “flashy” was set on. The producers seemed to be too concerned with making it over-dramatic than informative. But I consider what was worst about the documentary is that there were no notorious, respected TUDOR historians doing the commentary (not even the prominent American Tudor historian, Retha Warnicke) . I don’t count someone who wrote a book called “Sex with Kings” as an authority on the subject. I could maybe overlook this if these so-called “historians” even got the facts apt. I believe I turned it off shortly after two of them talked about the fact that Henry made Wolsey fracture up Anne Boleyn’s engagement to “her suitable cherish” Henry Percy because Henry VIII wanted Anne for himself. They fail to mention the fact that this engagement was made in secret between Anne and Percy, considerable to the embarrassment of their families–rather, these “historians” act as if this was a planned betrothal. They also fail to mention that the reason the marriage was broken off was because Percy was already promised to Mary Talbot, and Anne was not highly ranked enough to marry a future Earl. I can only win that the “historians” made this mistake because it dramatized the myth even more.
To sum up, the documentary is wrong and over-dramatic.
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Always Review At Amazon..
Product: Always Amazon Price: Sale Price Too Low To Display Availability: In Stock |
Richard Dreyfuss is a pilot, and kind of a wild card when it comes to his fire fighter flying. This concerns the people around him, girlfriend Holly Hunter and best friend John Goodman, but Dreyfuss shruggs it off because this is what he does. Finally Hunter convinces him he should retract a job in Flat Rock, Colorado training pilots to do what he does. Unfortunately he never makes it to Flat Rock, at least not in the flesh. Not trying to give too considerable away, Dreyfuss comes aid as a sort of guardian angel, forced to deal with two things: his treasure for Hunter and his duty to a young pilot she falls for.
Always is a well made characterize. From Spielberg we seek information from nothing less, though I mediate his name hinders this film**. The cinematography and the salvage are kindly as in all his films, as are the action sequences absorbing the planes. However, the acting is the strongest piece of this film. This is the kind of role Dreyfuss shines in. His fusion of wit and actual emotion is wonderfull and he delivers some difficult monologues which would seem trite is lesser hands. Holly Hunter and John Goodman are obliging as the people dealing with his loss. Also Audrey Hepburn makes her final veil appearance in two scenes as an angel (how fitting) .
**I have this theory about Always. It was almost universally panned by critics, but I believe the criticism is directed more at Spielberg than at the film. Certainly Spielberg has made better pictures, and perhaps this film was made on a grander scale than it needed to be, but I assume if any other director had done this film it would not have received so mighty scrutiny. But, I also fill in the hands of a lesser director this movie would not be as superb. Always combines action, humor, superior sorrow, and happiness, and it combines them well, which is no puny achievement. Spielberg made a excellent film, let it go.
A loose reworking of Victor Fleming’s 1943 World War II drama A GUY NAMED JOE, ALWAYS has to inappropriate as perhaps director Steven Spielberg’s most unfairly maligned movie. Even though it has a very used feel updated to the leisurely 1980s, this is mild a sparkling movie done with genuine poignancy. This is nowhere come the bottom of the Spielberg canon; that dubious distinction belongs to “1941″ and HOOK.
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Richard Dreyfuss stars as Pete, a dare-devil aerial firefighter with a penchant for taking a lot of unneccesary chances in his line of work. As noteworthy “fun” as he has, he is worrying not only his partner Al (John Goodman), but also his one moral admire Dorinda (Holly Hunter) . After grand pressure, including Hunter’s threat to leave him, he agrees to resolve down and become an instructor for up-and-coming flyers in Colorado after one last mission. But on that mission, in the process of saving Goodman when his plane catches fire, Dreyfuss loses his life when his aircraft explodes. Goodman is stunned, and Hunter devastated.
In heaven (or a burned-out portion of forest), Dreyfuss is met by a guardian angel (Audrey Hepburn, in her final role) . He comes relieve to earth as a spirit, to assist a rookie fire-fighter (Brad Johnson) learn the tricks of the trade. Johnson does this and more; unfortunately, he also falls head over heels for Hunter, and Dreyfuss feels the afflict of having to peep this, not being able to let go. But Hepburn gives him very trustworthy counsel, and he is redeemed by saving Hunter from a fiery death in a flight through a nightmarish firestorm.
One of Spielberg’s most touching movies, ALWAYS was unfairly castigated by critics as being heavy-handed and manipulative. I, however, am extremely cynical of such critics who only analyze sure films and don’t really FEEL anything. This is a film of pure emotions, ranging from comedy, both dismal and slapstick, to tear-jerking drama to a suspense and terror-laden climax. The cinematography and the special effects are typical for Spielberg–convincing and top notch. Spielberg, however, wisely, does not stint on the drama. Dreyfuss and Hunter are suited, as are Goodman and Hepburn. Johnson, often heavily trashed, does a fairly worthy job with his role, complete with his John Wayne imitation (specifically borrowing a line from John Ford’s THE MAN WHO SHOT LIBERTY VALANCE) .
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A typically pretty gain by John Williams, which presages his work for Spielberg’s controversial 2001 sci-fi drama A.I.: ARTIFICIAL INTELLIGENCE, tops off ALWAYS, one of the most misunderstood movies of unique times. For poignant romantic drama, this is an valuable movie, a apt must-see.
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Hidalgo Review At Amazon..
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Unless the Academy opens a recent category for “best performance by an animal actor”, you won’t be hearing of this movie next Oscar season, but that’s no reason to miss this movie now. Hidalgo, the horse, and Viggo Mortensen, as Frank T. Hopkins, completely won my heart as well as a area in “Substantial Couples of the Silver Hide”, or at least as vast partners in a buddy movie. This improbable painted mustang plays the serious buddy, making his human tend to business in spite of other inclinations. It is a charming footnote to the movie that Mortensen was so taken with the horse that he bought it after the movie was completed.
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Frank T. Hopkins may or may not have lived all the adventures he was distinguished for recounting, but it is verifiably apt that he was instrumental in saving the wild mustang from extermination in North America. For that he is a hero.
This movie version of the 3000 mile rush Hidalgo and Hopkins were said to have accelerate across the Arabian desert to support their title as “greatest long distance hurry runner” is an feeble popcorn-movie-as-entertainment movie. It should also befriend the theaters sell quite a bit of bottled water and soda. The film’s weaknesses are mostly attributable to the script. The writing (credit is to John Fusco, not-quite-known for writing the screenplay for SPIRIT: STALLION OF THE CIMARRON— an AHA!! moment here) could have been tighter, and left needless place holes. Also annoying is a microscopic laxity in editing. However, the yarn itself is a dramatic one, and the movie is fun to perceive. The cinematography does well by the epic and the locale.
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Omar Sharif, once again as a sheik, comfortable to the core in his role, is a delight. Viggo Mortensen is righteous to peruse at, obviously, but made me realize how difficult “laconic” is to play. He manages. Honest. Louise Lombard, playing the English seductress Lady Anne, who continually raises her stakes in the speed, has the most compelling eyes of any actress I can choose. The unique music by James Newton Howard is also well done.
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“The Last Samurai” opened on a similar note: Army orders cause a murderous slaughter of Native Americans for which the protagonist feels responsible, explaining his taking refuge in alcohol. Both protagonists have cynical reasons for leaving America, but some prospect of finding their souls again in a very foreign land, a completely uncommon culture. “The Last Samurai” has what this film lacks: a psychological examination of the hero’s rush. Both films’ protagonists and heroines do a prohibited bond, Samurai’s developing naturally, this one seemingly more contrived and less deep. But whereas “The Last Samurai” is a war movie, this film ends as “Seabiscuit”: a very moving horse hasten.
Our audience was completely enthusiastic, groaning, cheering, sweating it out for the heroes, the heroine, and even, occasionally, for the also-rans. It is a satisfying scuttle. B-
Based on the life account of Frank T. Hopkins and his horse Hidalgo, “Hidalgo”, from director Joe Johnston, is a compelling, ravishing, and though-provoking film (even though it stretches its running time to 130 minutes) that interests every moviegoer with suspense, romance, and tales of comraderie.
The year is 1890, and half-American, half-Souix Indian Frank T. Hopkins (Viggo Mortensen), is invited by an Arabic sheik to compete in “The Ocean of Fire”, the most prestigious and unsafe long-distance hasten ever known to man. Usually reserved for the purest bred stallions and the wealthiest and best riders in the world, the 3,000 mile run across the Arabian Desert leaves half of its competetors tiresome from natural wretchedness, insanity, or the treachery of fellow riders. After witnessing a tragedy at Wounded Knee Creek, and falling out of his once-claimed title of the best rider in the West, Frank and Hidalgo jump at the opportunity, where they encounter worry in all forms, and must rely on their friendship and strength to pull off the impossible.
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Seeing as “Hidalgo” is Viggo Mortensen’s first film in which he has been the only-billed star, he handles the pressure well as the unexcited and conflicted Frank T. Hopkins. He plays the character with a intelligent subtlely, and gives him an air of understated intelligence and courage. With the fair amount of emotion, Mortensen is the unique day Indiana Jones-like action hero; with sex appeal and appealing stunts. Although he lacks charisma in some instances, he is overall perfect and toothsome in his role. The supporting cast is strong, with the highlights being Louise Lombard as Lady Anne Davenport and a little but memorable performance by Victor Talmadge as Rau Rasmussen. However weird this may sound, the horse Hidalgo gave one of, if not the best, performance in the movie. He made the relationship between himself and Frank heartbreaking and fufilling, and expressed emotions and conveyed positive thoughts across to the audience in simply a discover. If there was ever an award for the best animal actor, I would personally award it to Hidalgo.
One of the main highlights of Hidalgo is the magnificent sets and surrounding scenery. Rich in color, there are splendid shots of the Arabian desert, the plains of used America, and snowy forests and rivers, and fair the people of each modern environment, which build the epic overall more toothsome. The cinematography is jaw-dropping, as the perspectives, running shots of the races, and choice in angles and film speeds are residence on in nearly every scene. The music is also incorporated well, jerking emotions and suspense from the audience.
Although I have heard the contrary, I was thoroughly blissful with “Hidalgo” as a whole. I loved the procedure the relationship between Frank and Hidalgo was portrayed, the legend was original and appealing, and I was moved, gripped by the suspense, and engrossed in the film from originate to effect. Although it runs a shrimp long, ends one too many times, and has some terrible dialogue, it will ultimately satisfy moviegoers of most ages due to the disclose, map, and overall see of the film.
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Buy Big Pun: The Legacy At Amazon!.
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this dude was a broad MC. as far as the movie. I was tickled to notice it, a lot of things I already knew though others dvds but this one was well assign together and it had people talking about pun the man as equally as his music and they didn’t go over board at all. I say if you a fan of hip-hop and pun accept this.
If your from the BX, this is for you, if your from the Tri Position region this is for you. If your from the era where you reflect LiL Wayne is one of the best of all time, well then this isn’t for you. Save it this method only dependable hip hop people should come by this. Spacious Pun was too nice, and could have been arguably the greatest of all time. Yet his time in the game was too short due to his death. I feel that you need to be a fair fan of precise hip hop when lyrics meant something. Apt about now you have clowns like Jeezy and Wayne, Pitbull, Officer Rick Ross, Fifty poor scent, owning the waves with at best subpar music, but yet it’s throwin into our ears as if it’s spacious music. The exhibit position of hip hop will no where ever be end to that decade of the 90’s, early 2000’s
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Lowest Price on Amelie at Amazon..
Product: Amelie Amazon Price: Sale Price Too Low To Display Availability: In Stock |
I have seen thousands of films in my life, and plan nothing could surprise me anymore on a shroud. Amelie proved me I was depraved. Instead of writing another “best film ever” comment, I would like to give some indications for non-french speaking viewers, as the translation might have made some lines a bit obscure.
Amelie says to Colignon “Meme les artichauds ont du coeur” (Even artichokes have a heart) . In french, “un coeur d’artichaud” (an artichoke heart) is a person that falls very often and easily in appreciate.
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Colignon calls Amelie “Amelie-melo” (mutter “ah-may-LEE-may-low”) which sounds like “un meli-melo”, a muddle or mix-up.
In the cafe, people discuss about time and weather, as the same word “temps” means both “le temps qui mature” (time that passes) and “le temps qu’il fait” (the weather) . So goes Hippolito’s theory : they screech about the weather because they are timorous of the passing time.
Collignon says about his mother : “Elle a une memoire d’elephant, un elephant de mer” (literally: she has memory like an elephant, a sea elephant) . A “sea elephant” is a sort of walrus, and “mer” (sea) and “mere” (mother) are pronounced the same.
When Amelie is in a theater, she watches “Jules & Jim”, a movie by Francois Truffaut. There are many references to Truffaut in the movie : Claire Maurier plays the mother in “the 400 blows” and many scenes refer to “Bed and Board”, which itself refers to Hitchcock’s “Rear window”. I serene have to figure which was the movie whith Spencer Tracy driving without watching…
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When Amelie watches her projected life on TV, a scene that refers to Woody Allen’s “Zelig”, the divulge over is from Frederic Mitterand, nephew of his uncle, who is illustrious for commenting weddings or funerals of aristocrats on french TV.
The “likes/dislikes” narration was experimented by Jeunet in a short movie “Foutaise” with Dominique Pinon, that will be included in the collector edition of the DVD. It also refers to “La vie, mode d’emploi” (Life: a user’s manual) from Georges Perec, although Jeunet admits he could never effect the book.
Most TV scenes are stock shots. The record about the horse running in the Tour de France is correct. Most stories told in the film are just, including the one about collecting discarded pictures.
There are numerous references in the movie, including to other Jeunet films. The scene in the mystery stutter is almost a copy of a similar scene in Alien : Resurrection where Ripley has an almost tender behaviour with the alien.
Finally, “Amelie” comes from “Emily”, as Emily Watson was supposed to play the role, and “Poulain” is both a young untrained horse and a chocolate notice. And this is not a coincidence.
Like the star of Chocolat, the title character of this magical comedy also wants to heal people inside. But this particular healer is a daydreamer with an irresistible smile, a Louise Brooks bob hairstyle or an Audrey Hepburn-like bun when it’s tied up, and will charm the pants off the iciest of souls.
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The only-child of a tight-lipped, hard-hearted doctor father and a neurotic schoolteacher mother, Amelie Poulaine grew up being too remarkable unloved, with a not too overjoyed childhood. As a young lady, she becomes a waitress at the Two Windmills cafe, but other times spends her time in an imaginative world of dreams, not forming cessation ties with people, being terribly troubled.
One day, she is watching TV when Princess Diana’s death is announced. From then on, she decides to be a healer of sorts, whether it be uniting a man with childhood memories he left in a cubbyhole in the skirting board long time ago, trying to soothe the hearts of people, obtain people’s lives better, or being an avenging angel. The scene where she helps a blind man across the street and describes what’s going on is simply magical.
Amelie is also befriended by artist Raymond Dufayel, known as the Glass Man because of a disease that has given him very brittle bones. They communicate indirectly through a painting he’s working on, particularly a young girl that Dufayel’s trying to figure out.
Buy,Download, Or Stream Amelie! Click Here
Amelie meets Nino Quincompoix, a man who collects discarded, frequently torn ID card photos from a photo booth and puts the reconstructed pieces in an album. Included in there many times is a stern bald man whose pictures are always torn up. Amelie finds Nino’s album and wonders who the bald man is. This is a mystery included in the film.
There’s Colignon the grocer, an base middle-aged man who delights himself in disparaging his assistant Lucien, who’s slow-witted but nice and sensitive. Amelie feels sorry for Lucien and the scenes where she becomes his avenging angel at Colignon’s expense are hilarious. At one point she tells Colignon, “You’ll never be a vegetable. Even artichokes have hearts.” Ouch, but well deserved.
Amelie’s widowed father spends his life collecting garden statues to decorate his plain wife’s shrine, instead of travelling around the world. Amelie steals one of them, a bearded garden gnome complete with red pointed hat, and then something queer happens. A few days later, her father receives a postcard from the gnome, who is apparently on holiday abroad!!! This goes on for a while and completely baffles him.
Audrey Tautou would’ve been my choice for Best Actress of the year. I simply melted everytime she smiled in the movie. She also bears a microscopic similarity to another Audrey–Hepburn. Both have in current shadowy hair, a face brimming with charm, and irresistible smiles. Maybe that’s why it was admire at first glimpse with me.
Director Jean-Pierre Jeunet uses some quirky film techniques, mostly visual imagery, such as a scene when Amelie literally dissolves into water. The onscreen narration is also useful. At times, it sets the stage for turning points in the film. Earlier, it describes the likes and hates of the Poulaines and the one famous characteristic of the Two Windmill employees. He creates an imaginative film that’s a breather from the usual Hollywood grind. But it’s his closeups of Amelie and her smile that perform this worth seeing over and over.
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