Amelie!
The International Festival of Arts and Ideas traveled to France by way of Hamden Wednesday night as its Sister City Films program screened the sweet and surreal film Amelie at Best Video to an eclectic array of movie fans.
The Jean-Pierre Jeunet-directed film from 2001 was the fourth in the eight-film series presented in conjunction with the organization Sister Cities New Haven, whose mission is “to promote awareness of the cultures and customs of the foreign cities designated by New Haven as their sister cities.” Those cities included Afula-Gilboa, Israel; Amalfi, Italy; Avignon, France; Freetown, Sierra Leone; Hue, Vietnam; Leon, Nicaragua; Changsha, China; and Tetlanohcan, Mexico.
Shamain McAllister, the associate director of education and community impact for the festival as well as a Best Video board member, was present for the event, noting that it was “nice to have two beautiful things come together” for this event.
“New Haven and Hamden are like sister cities, too,” she added with a smile.
McAllister introduced me to Sister Cities board member Anna Ballinger who she said reached out to the Arts and Ideas Festival about putting this series together. Ballinger spoke of putting on a French film festival in the past, but having to do more research to find films from the other areas for this one. She was, however, very familiar with tonight’s feature.
“It’s kind of like a cult movie,” she said. “It’s full of hope. I just love it.”
David Harpin, also a board member at Sister Cities New Haven and a teacher at Hopkins School, introduced the film after a brief introduction by McAllister. He also spoke of his work as director of global programming at Hopkins which involved partnering with sister cities such as Avignon, Amalfi, and Changsha, noting that it exemplified the organization’s mission of “peace through friendship with other countries.”
Karen Ponzio Photo.
David Harpin introduces the film.
He also gave a brief description of the film and spoke of how it made Paris “feel like a small town.” That was truly one of the great beauties of Amelie: it’s ability to take you right in and feel like you’re invested in the lives of a cast of characters that could be just about anywhere attempting to deal with problems that we all could (or already do) have while at the same time delving into the magical and fantastical.
Played with utter charm and delight by Audrey Tautou, Amelie Poulin goes about her life as a waitress in a small café while also existing in a dream world that keeps her mostly introverted and isolated. A chance encounter with a 40-year-old box filled with a child’s treasures starts her on a journey to not only change the lives of those around her, but inadvertently change her own life as well.
This reporter came late to the party with this film, seeing for the first time only last year. I was struck by its playfulness, its use of bold colors, and its exquisite attention to detail, especially with its characters (and it made me wonder if it had influenced Wes Anderson’s films). As we meet each one, we are told what they like as a way to get to know them better immediately. For example, one is said to only like popping bubble wrap and another likes the sound of the cat’s bowl on the tile floor. It seems insignificant, but as an avid filmgoer who, not unlike Amelie herself, likes “seeing details no one else sees” it grabbed me from the get go and made me care about each one of them.
Director and co-writer Jeunet volleys between lingering close ups and picturesque exquisitely framed shots that give the viewer both and intimate and expansive view of Amelie’s world, both the real and the surreal. And while I have often heard this movie accused of being overly whimsical, on second watch I was taken in more by how honestly it portrays a person whose early in life losses has framed her view later in her journey and who slowly becomes brave enough to change after seeing how her effect on others can bring change to their lives, including connection, cooperation, and yes, love.
The dreamlike nature of how she makes her way through the world is captured with its own love and connection. Amongst the talking paintings and photographs and feeling herself wash away like a bucket of water, Amelie finds her way closer and closer to a life she can actively share with others outside of her small good deeds and trickster nature. She longs for a life outside of her own head, but she also fears it. Soon she is the one receiving help from others and accepting it. Her dream world informs the real one, becomes less of an escape and more of a pathway to relationships that last.
At one point one of the characters says “times are hard for dreamers,” a sentiment it seems has never been truer than now. Those of us who make it a point to still go to films and, like Amelie, “look back at people’s faces in the dark,” who choose to try to make a difference in the world without being seen or heard, maybe by leaving secret notes around and encouraging friendly connections between two lonely people: this is not a world that tends to see such people and their actions as anything but whimsical. But dreams are often where our best plans can be laid, and where we first find the courage to be who we truly want to be. I can’t think of a better way to press forth into reality.
There are four more Sister Cities Films being shown during the month of May. Please see the Arts and Ideas website for more information about those films as well as their times and dates.