#61 ·
I honestly, what is there even to miss about this movie? It’s just cheap, sentimental trash designed to pull at everyone's heartstrings.
Not really feeling the urge to draw today.
Amelie
Started by ruggedjackal46 · · 👁 9 views · 178 replies
Not really feeling the urge to draw today.
#62 ·
And what about actually making an argument? 😁 You need to have something substantial to work with, other than just saying, "Well, I won't let them manipulate me." 😁
It’s not like every single movie isn't doing that, one way or another...
It’s not like every single movie isn't doing that, one way or another...
#63 ·
It looks like everything just boils down to the same thing for you—just endless arguing and sketching out theories. Stop clogging up the thread; I’ve already said my piece about the movie, so if you actually have something new to add regarding the film itself, go ahead; but if you want to debate whether I’m a snob or not, there's a fan club over at the organization for that kind of nonsense, so feel free to take it there 🙂
#64 ·
driftingeagle27 said:Yeah. (If my perspective on the world—which keeps me from drowning in tears whenever some B-list soap opera comes on TV where the hero's brother is in a wheelchair and the sister just lost her baby—makes me seem cynical, then honestly, I’m proud of that cynicism. My senses aren't "blocked," they're just sharpened. Try to grasp that "subtle" distinction...)
Well, if you're going to make claims like that, you better be prepared to live with them... 😛
And since I'm not exactly a fan, I'll just give it to you straight. 😁
As for the movie, I'll say what everyone else is saying: it's a completely trivial story told in a really original and fun way, which made the trip to the theater totally worth it. 😁
#65 ·
driftingeagle27 said:Every single time I turn on the TV and see some bottom-tier Spanish soap opera where the main girl's brother is stuck in a wheelchair and her sister just lost her baby...
Rabbit, I totally get it now. Your sensors aren't just jammed; they’re completely fried. And honestly, it’s probably from binge-watching way too many of those dramatic overseas soaps where, judging by your "expert discourse," you’ve clearly become a scholar. Look, we're out here actually talking about cinema, and TV is a whole different beast. Try to wrap your head around the fact that there's a massive distinction there.
#66 ·
Rather than wasting my breath dissecting Michelle Howard2's failed attempt at logic—though I truly hope you didn't literally break your neck doing it—I think we should just move the conversation about me over to here, which is where it belongs anyway. It’s pretty obvious my life and work are way more compelling than Amelia's, which makes sense if you think about it, but let's not let the actual movie discussion get sidelined just because there's plenty of room to talk about me.
#67 ·
Look, rabbit, you’re free to watch a movie however you want. But maybe don't go around deciding the rest of the world is stupid just because they didn't experience it exactly your way.
#68 ·
quote:
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It feels like "Amélie" is one of those movies engineered specifically to be universally liked.
I agree. The main issue is how hard the movie tries to win you over.
Plus, all those little details they throw at you when introducing characters feel annoying because none of those tiny things ever come up again.
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It feels like "Amélie" is one of those movies engineered specifically to be universally liked.
driftingeagle27 said:>
Exactly. It’s actually pretty nauseating.
I agree. The main issue is how hard the movie tries to win you over.
Plus, all those little details they throw at you when introducing characters feel annoying because none of those tiny things ever come up again.
#69 ·
fadedmaker11 said:quote:
Also, all those little details they dump on you when introducing certain characters feel super annoying to me, because none of those tiny bits ever come up again later.
Hmm, thousands of open stories left untold? Man, this movie is sounding better by the second. 😳 🙂
#70 ·
fadedmaker11 said:It feels like "Amélie" is one of those movies specifically engineered just to make sure everyone walks away smiling.
Honestly, I'm right there with you—it feels like the biggest issue with this flick is how hard it’s clearly trying to win us over.
That’s total nonsense! Of course a movie tries to appeal to people. Every single film out there is aiming for an audience, but great movies just put a little more heart into making that connection happen.
#71 ·
Michelle Howard2 said:That’s nonsense! Of course the movie is trying to appeal to the audience. Every single movie tries to connect with its viewers. Great movies just work a little harder to do it.
It’s total nonsense, obviously!
I honestly can’t think of a single film ever made with the actual intention of being disliked...
#72 ·
Quick refresher here:
Just so everyone understands why I'm flagging the palatability issue in Matthew Lee15's sentence above, I highlighted the problematic word.
Is it still unclear to anyone how much this movie tries to please everyone EVERYONE?
It feels like "Amélie" is just one of those movies engineered specifically to appeal to every single person out there.
Just so everyone understands why I'm flagging the palatability issue in Matthew Lee15's sentence above, I highlighted the problematic word.
Is it still unclear to anyone how much this movie tries to please everyone EVERYONE?
#73 ·
driftingeagle27 said:Let’s do a quick refresher here:
Just so everyone understands exactly why there's an issue with how likable Amelia is, I highlighted the specific word in Matthew Lee15's sentence that I quoted above.
Is it still unclear to anyone how much this appeals to EVERYONE?
Rabbit, what Matthew Lee15 wrote about it being a movie that tries to please EVERYONE... that sentence doesn't work as an axiom if you want it to serve as a point of reference...
I think any filmmaker knows it's impossible to make a movie that *every single person* will love. Maybe you can make something the majority enjoys... but certainly not EVERYONE...
And I don't think that was Jeunet's intention at all...
The fact that you aren't enjoying it is proof enough that it isn't a movie for everyone... 😛
#74 ·
Look, regarding what Matthew Lee15 said about this being some movie trying to please everyone... you can't just toss that sentence out there and act like it's some universal truth or a solid point of reference.
😕 The guy actually said something in his quote that I totally agree with, but then you took that one thought and spun it into this whole other narrative, completely losing the "everyone" part in the process, which basically makes your entire argument a textbook case of a straw man fallacy.
#75 ·
There is way too much noise over nothing. 🙄
When I mentioned that the movie was made to please everyone, I meant it in a positive sense, I guess. As you all pointed out, the plot itself is quite banal, but it’s told in a rather original and—well, in my opinion—quite charming way. By saying it was designed to please everyone, I suppose I meant it was filmed with multiple layers, intended to reach different types of audiences and offer various levels of engagement. For instance, people who enjoy those Hollywood "fairytales" like "Amelie" will likely find a familiar little story there (plus a charming lead actress, some funny moments, a happy ending), whereas a more demanding viewer might appreciate the excellent camerawork, the very solid and thoughtful direction (even if it isn't the director's absolute masterpiece), the perfectly suited production design, costumes, well-written dialogue, and so on, and so forth.
Of course, every single film is made to appeal to everyone, or at least as many people as possible. It’s just basic math, especially with big-budget studio productions. But then again, not every film succeeds in that—and "Amelie" didn't exactly succeed either, judging by these comments.
People tend to criticize films for stirring up emotions or manipulating the audience. But, I mean, isn't that why people go to the theater in the first place? To be manipulated, perhaps, and to experience or awaken certain emotions in the dark of the cinema that they might not find the time or space for in real life. Every film is a manipulation by the very definition of film as an art form. I mean, driftingeagle27, or anyone else for that matter, do you watch Star Wars believing it's actual reality? 😉 Or especially those big Hollywood blockbusters?!? Aren't they pure manipulation?!? But the fact that films are manipulative isn't some hidden secret from the audience; it's not like you're deceiving someone who bought a ticket, nor is it some groundbreaking revelation you've uncovered.
It is entirely your right to like or dislike a film. Personally, I don't like every movie I see, far from it. 😉 But I think the point is that each of us has our own value system, our own ways of judging aesthetics and emotional impact. So, I suppose it would be a sign of immaturity (and a few other things, though I really wouldn't want anyone to get the impression that I'm trying to be insulting) to judge people based solely on their taste, wouldn't it? 😉
When I mentioned that the movie was made to please everyone, I meant it in a positive sense, I guess. As you all pointed out, the plot itself is quite banal, but it’s told in a rather original and—well, in my opinion—quite charming way. By saying it was designed to please everyone, I suppose I meant it was filmed with multiple layers, intended to reach different types of audiences and offer various levels of engagement. For instance, people who enjoy those Hollywood "fairytales" like "Amelie" will likely find a familiar little story there (plus a charming lead actress, some funny moments, a happy ending), whereas a more demanding viewer might appreciate the excellent camerawork, the very solid and thoughtful direction (even if it isn't the director's absolute masterpiece), the perfectly suited production design, costumes, well-written dialogue, and so on, and so forth.
Of course, every single film is made to appeal to everyone, or at least as many people as possible. It’s just basic math, especially with big-budget studio productions. But then again, not every film succeeds in that—and "Amelie" didn't exactly succeed either, judging by these comments.
People tend to criticize films for stirring up emotions or manipulating the audience. But, I mean, isn't that why people go to the theater in the first place? To be manipulated, perhaps, and to experience or awaken certain emotions in the dark of the cinema that they might not find the time or space for in real life. Every film is a manipulation by the very definition of film as an art form. I mean, driftingeagle27, or anyone else for that matter, do you watch Star Wars believing it's actual reality? 😉 Or especially those big Hollywood blockbusters?!? Aren't they pure manipulation?!? But the fact that films are manipulative isn't some hidden secret from the audience; it's not like you're deceiving someone who bought a ticket, nor is it some groundbreaking revelation you've uncovered.
It is entirely your right to like or dislike a film. Personally, I don't like every movie I see, far from it. 😉 But I think the point is that each of us has our own value system, our own ways of judging aesthetics and emotional impact. So, I suppose it would be a sign of immaturity (and a few other things, though I really wouldn't want anyone to get the impression that I'm trying to be insulting) to judge people based solely on their taste, wouldn't it? 😉
#76 ·
Honestly, all these general takes on flavors are pretty tasteless, and I’m just bored of even acknowledging them. I'm also over these repetitive "one step forward, two steps back" debates. When there’s actually something new worth my time on this thread, I'll show up, but until then, feel free to dig through my old posts if you need my perspective or some context for what gets said after me.
#77 ·
Hmm, rabbit's, I’ve been chewing on this whole Coelho-Balasevic thing lately—that bloody poetic mess of yours—and I think I've finally landed on some conclusions. 😲
If we look at drama as a general concept rather than just some movie genre, it seems to me that since that essential book by Aristotle, Ars Poetica, which laid the groundwork for drama thousands of (😲 ) years ago, very little has actually changed in how we formulate drama as a narrative art form (which, let's be honest, still serves as the backbone for the vast majority of films today).
There have been some literary attempts to break away from that mold—both in literature (think Joyce, Beckett, Ionesco) and in film (like the Andalusian pass or those Eisenstein films...).
Meanwhile, cinema (with a few honorable exceptions) has largely stuck to Aristotelian principles—or what people call the "3 act structure" in English.
The reason I'm bringing all this up is that, according to Aristotle, the heart of any drama lies in CONFLICT (whether it's internal or external).
And that brings us right to Coelho and Amelia (let's leave Djokovic out of this one for now 🙂 ).
Unfortunately, Coelho is the absolute worst example of this newer trend in drama, where the conflict isn't actually the engine driving the story; instead, the driver is just... liking the main characters.
Now, there are brilliant examples of that kind of poetry in both literature (take John Irving's books, like The Cider House Rules, which made for a pretty solid film) and in movies (like "All or Nothing," or a Mike Leigh film where you might find there aren't even any negative characters!).
Amelia sits somewhere in the middle; she doesn't quite reach the heights of All or Nothing, but you can't exactly call her a disaster on the level of the Alchemist either.
Ugh, I really went on a rant there, didn't I? 🙂
If we look at drama as a general concept rather than just some movie genre, it seems to me that since that essential book by Aristotle, Ars Poetica, which laid the groundwork for drama thousands of (😲 ) years ago, very little has actually changed in how we formulate drama as a narrative art form (which, let's be honest, still serves as the backbone for the vast majority of films today).
There have been some literary attempts to break away from that mold—both in literature (think Joyce, Beckett, Ionesco) and in film (like the Andalusian pass or those Eisenstein films...).
Meanwhile, cinema (with a few honorable exceptions) has largely stuck to Aristotelian principles—or what people call the "3 act structure" in English.
The reason I'm bringing all this up is that, according to Aristotle, the heart of any drama lies in CONFLICT (whether it's internal or external).
And that brings us right to Coelho and Amelia (let's leave Djokovic out of this one for now 🙂 ).
Unfortunately, Coelho is the absolute worst example of this newer trend in drama, where the conflict isn't actually the engine driving the story; instead, the driver is just... liking the main characters.
Now, there are brilliant examples of that kind of poetry in both literature (take John Irving's books, like The Cider House Rules, which made for a pretty solid film) and in movies (like "All or Nothing," or a Mike Leigh film where you might find there aren't even any negative characters!).
Amelia sits somewhere in the middle; she doesn't quite reach the heights of All or Nothing, but you can't exactly call her a disaster on the level of the Alchemist either.
Ugh, I really went on a rant there, didn't I? 🙂
#78 ·
Look, if you define movies by how much they cater to the masses, then the whole concept of an indie film just dies right there.
It’s the same deal with music. If the main goal is just making a buck—basically making sure a huge crowd likes it—then 95% of the time you end up with something bland, cliché, and choked by every single textbook rule the Hollywood studio system forces on them. There’s zero connection between chasing profit and treating film as actual art, which is what it should be.
I wasn't a fan of Amelia specifically because I couldn't shake that massive Hollywood vibe. Plus, having sexual violence shoved in my face combined with this forced, quirky "European eccentricity" in every scene was just bad. Every character feels like they're trying way too hard to act out some unique, niche persona. If you don't buy into the director's specific vision, it ends up feeling like it was filmed in some weird, lost little village instead of a major American city.
The whole thing is pretentious. It’s like it’s desperately trying to prove that Hollywood-style storytelling can work in Europe too. After struggling through "The Revenant" (or whatever the local title was) in theaters, and having zero interest in watching Vidocq, I seriously started questioning where American cinema is even headed. On the bright side, The Pianist kind of fixes the overall impression of the last few years...
It’s the same deal with music. If the main goal is just making a buck—basically making sure a huge crowd likes it—then 95% of the time you end up with something bland, cliché, and choked by every single textbook rule the Hollywood studio system forces on them. There’s zero connection between chasing profit and treating film as actual art, which is what it should be.
I wasn't a fan of Amelia specifically because I couldn't shake that massive Hollywood vibe. Plus, having sexual violence shoved in my face combined with this forced, quirky "European eccentricity" in every scene was just bad. Every character feels like they're trying way too hard to act out some unique, niche persona. If you don't buy into the director's specific vision, it ends up feeling like it was filmed in some weird, lost little village instead of a major American city.
The whole thing is pretentious. It’s like it’s desperately trying to prove that Hollywood-style storytelling can work in Europe too. After struggling through "The Revenant" (or whatever the local title was) in theaters, and having zero interest in watching Vidocq, I seriously started questioning where American cinema is even headed. On the bright side, The Pianist kind of fixes the overall impression of the last few years...
#79 ·
Okay, this is getting ridiculous—you can say you hate Amelia all you want, but comparing her to Coelho? That’s just straight-up stupidity at this point.
I have zero clue what you mean by saying Coelho’s drama comes from "sympathy for the characters"... the real question is whether there’s actually any drama, or literature, or anything meaningful in his stuff at all...
Coelho is just some post-hippie pseudo-philosopher trying to act like he's Hesse or something. He wants to deliver some "higher message," play life coach, and then churn out these tacky, bottom-shelf books filled with slimy clichés (the peak of it all is definitely *The Warrior of Light*—honestly, sometimes you just don't know what kind of trash is hiding on library shelves)👎
Amelia, on the other hand, is like a cute little indie movie made with a whimsical vibe. If it’s pretentious, it’s purely in the visual style.
And yeah—I get what you're saying about the sympathy for the characters—but I don't see the problem? There's conflict, and the people are actually likable (like that guy selling vegetables, haha)
Honestly, driftingowl27, I don't even get the point of your theory.
Is it that an animated movie can't be good if the central drama revolves around an endlessly adorable character? Or that they can only be good if the drama is driven by conflict (which, for you, is the only thing that counts)? Or whatever else you were rambling about??😕
I have zero clue what you mean by saying Coelho’s drama comes from "sympathy for the characters"... the real question is whether there’s actually any drama, or literature, or anything meaningful in his stuff at all...
Coelho is just some post-hippie pseudo-philosopher trying to act like he's Hesse or something. He wants to deliver some "higher message," play life coach, and then churn out these tacky, bottom-shelf books filled with slimy clichés (the peak of it all is definitely *The Warrior of Light*—honestly, sometimes you just don't know what kind of trash is hiding on library shelves)👎
Amelia, on the other hand, is like a cute little indie movie made with a whimsical vibe. If it’s pretentious, it’s purely in the visual style.
And yeah—I get what you're saying about the sympathy for the characters—but I don't see the problem? There's conflict, and the people are actually likable (like that guy selling vegetables, haha)
Honestly, driftingowl27, I don't even get the point of your theory.
Is it that an animated movie can't be good if the central drama revolves around an endlessly adorable character? Or that they can only be good if the drama is driven by conflict (which, for you, is the only thing that counts)? Or whatever else you were rambling about??😕
#80 ·
Edward Robinson6 said:Honestly, driftingowl27, I have no idea what you're even getting at with this theory of yours.
Are you saying an automatic film can't be good if the center of all the drama is just some endlessly likable character? Or that they can only be good if the whole thing is driven by conflict (which, to you, apparently means "conflict")? Or whatever else you're trying to pull here??😕
First off, your little dig about "automaticity" has absolutely nothing to do with what I actually wrote. If anything, I was praising All or Nothing because you basically HAVE to actually like the characters to enjoy the movie, especially since there aren't any massive plot twists, "bad guys," or other cheap dramatic gimmicks used to keep the crowd entertained.
Maybe "conflict" is too heavy a word—let's call it tension. It can be internal (like a character fighting themselves to overcome issues like alcoholism or addiction...) or external (like liberating Scott from tyranny...) or a mix of both (young Luke Skywalker having to face the fact that his father is Darth Vader and taking him down to save the galaxy from the Dark Side).
I might have been exaggerating a bit, but hopefully that clears up my point. Obviously, there are a billion different ways to spin this, but it's pretty much the essence of what Aristotle laid out.🙂