Retro Film Review: Amelie

As my children have grown I’ve often been excited to show them a film I loved in my youth only to be struck with the thought upon watching it – why did my mother let me watch that? Or saddened when I realise how sexist one of my beloved films is. So I’ve decided to revisit some of my favourite films from a feminist perspective, starting with Amelie.

What I’m looking for:

·         Does it pass the Bechdel test? This is a basic test that asks three questions. 1. Are there two named female characters who 2. talk to each other about 3. something other than a man? (It’s shocking how few films pass even this basic test.)
·         If it doesn’t pass the Bechdel test is there a good reason why? I think The Shawshank Redemption is a good example of this since the film is set in a men’s prison. Another exception for me is if the value of the message in the film redeems it not passing or it passes the same rules but for people of colour rather than women. – Bonus points if it does both.
·         Is there diversity in crowd shots?
·         Are women involved in the production of the film? Even if they are not represented on screen is the story being told from a female perspective? Writer, Director, Producer etc.

For more information visit the New York Film Academy blog for statistics and results of their inquiry into gender inequality in film.

http://www.impawards.com/2001/amelie_ver1.html

Amelie (2001) is a French film written by Guillaume Laurant and Jean-Pierre Jeunet, directed by Jean-Pierre Jeunet and stars Audrey Tautou.

The protagonist, Amelie, is described as, ‘an innocent and naïve girl in Paris with her own sense of justice.’ I feel this description doesn’t capture the complexity of Amelie; which is one of the strengths of this film.

Almost all of the characters are dynamic and fully fleshed out. (Several are named women who speak to each other about topics other than – and including men.)

When I first saw Amelie at the theatre I experienced it much as I imagine the first viewers of The Wizard of Oz must have felt. I was just as enchanted with this viewing.

Screenwriting “rules” are broken; there is voice over narration throughout the film and Amelie frequently breaks the fourth wall to address the audience. The cinematography, music and style of storytelling work together to create a dreamy atmosphere.

Yet, for all its dreamlike qualities the film’s dynamic characters, male to female ratios and the equal treatment of both makes the world of Amelie feel more “real” than many of the films coming out of Hollywood. (Even with its touches of animation.)

Post by Melissa Hiatt-Boyle