But when we meet Sam, and the doorway to a new place (both for Andrew’s emotional state and for the destination for his journey) is opened. When the two share a moment by the fireplace, after swimming in the pool, isn’t only warm because of the fire, but because of the colours it throws out – the oranges and the yellows are quite inviting. It feels pretty good. Nino, as I see it, doesn’t play this same, pivotal role. The green we see in, Black and white is used in the traditional sense of shading – how can any film avoid shadows and light? Garden State uses colour to contrast where we’ve been and where we can go. A similar effect is used when she sees Nino for the second time and has realised that she does have feeling for him. That’s no surprise. That’s really funny, I mean I’m the only person who wears a helmet to work who isn’t putting out fires or racing for NASCAR. Well, for the technical side, it is just so hard to split. Amélie breaks down the fourth wall between film and audience (@00:11:16) when she tells us that she enjoys looking back in movie theatres, then a few seconds later, what she dislikes about films, and once again after playing her first ‘game’ with Nino (@01:13:57), then, in the closing stages of the film (@01:52:23). The green that’s used makes it cold, emotionally dead and gives an insight into the characters that are associated with green. Sam provides relief and animation in contrast to Andrew Largeman’s sterile and subdued characteristics. Hence, many critics have considered the narrator as an antihero when referring to him because he drinks lots of alcohol, smokes marijuana, blinded and insensitive to others. And there is just the right amount so that it doesn’t turn me (a person who doesn’t have a pure comedy film in my Top 50 I expect – I disagree that they can be quality movies, but that’s just my opinion) off it. Either way, the two films are full of them. Sometimes they were led by seeing-eye dogs. the baker, \"an older man with a thick neck,\" is distant and somewhat abrupt. I’ve tweaked it and refined it so that it’s overly complex, so confusing and without rules that, well, only the mind of Thomas can comprehend it. When Andrew takes speed (I think it is) we get a nice little technique where Andrew is still lethargic and ‘slow’ but everyone else, rather than going at normal speed as they do when he is on his normal medication, they are all in fast-motion. We are not, for the moment, considering the actors’ portrayal of each character, rather the characters themselves. This is, of course, in contrast to how Amélie is established by the film’s introduction – she is a shown to have quite a varied and peculiar childhood. If the recommendation comes in that people want similar, but shorter, posts to this then I totally understand and would, in all reality, prefer to write shorter ones. There isn’t so much of a reliance on the close-up, as with Amélie, more it’s an emphasis of putting things in perspective. Jack, Fran, and Bud watch television while Olla prepares dinner and occasionally tends to the baby, who is fussing in another room. The lighting in both films is somewhat important, less so in Garden State. For Garden State the comedy is subtle, but overt. It’s difficult to compare the ‘way of life’ that Amélie presents because it’s an idealised, dream-like Paris that’s being portrayed. Braff’s ability to stifle all emotion is what lets him down in the face of Tautou’s ability to become Amélie and to make you believe that she is the character – and that the character is a real human being. The two I have selected are Sam, as portrayed by Natalie Portman, and Nino Quincampoix, as portrayed by Mathieu Kassovitz from Garden State and Amélie respectively. It takes ventures that you don’t see in Hollywood that much anymore. While the character should be clearly excited and elated at finding, who he believes, is the woman he has been searching for (the woman who has been playing the intriguing games with him), it’s more the look of seeing an old friend. As with the Andrew Largeman character, Nino Quincampoix got the raw end of this deal. It’s a real sterile feel. To sum up Amélie Poulain: it’s the character’s relatability, in my opinion, that makes this character so key to the film, because the film, as a whole, attempts to and succeeds in being relatable. The same effect occurs at the end of the film, when Andrew is on the plane and headed home, and it’s a stark contrast to the slow-motion effect used on the plane in the opening scene. The camera doesn’t get close to her, and that’s what it’s like for the people around Amélie. What this does is symbolises the change in perspective – Andrew hasn’t changed, but the way he views the world has. When Amelie is six, he concludes that she has a serious heart defect (when in reality, Amelie's heart beats faster due to nervousness from her father's rare contact). I enjoy thinking about a film, and I’m still thinking about Amélie. The unnamed narrator who is the protagonist of the story is an antihero because of some of his undesirable character traits. A simple, adjusted, expression at the right time, in the right context, is all that it takes. The narrator in this story is a good example of an anti-hero showing negative characteristics while never actually being a bad guy. Then, finally, the film’s plot gets underway at 00:13:35. Anton Chekhov. But she isn’t dressed to look like a chair (serious, I think he is dressed to fit in – brown pants, the same shade of green shirt). I hope that the wait didn’t put anyone off reading this. The main character is the unnamed narrator, a waitress who is serving an overweight customer, referred throughout the story as “the fat man”. Amélie making realisations about herself and those around her, such as when we, along with her. But same is also stability, reason and another ‘way’ through the journey. The image of, It’s difficult to compare the ‘way of life’ that. Garden State, if it suffers from anything in the camera department, is that it’s very still, when compared to Amélie. So who gets what, if any, points for this category. She’s different to what we’ve seen so far – ‘dead’ settings, ordered, organised and confined. Garden State finally comes to a point where it has a chance to catch up to its competition. Tolstoy pays him a visit and the great writer of short fiction like Carver is in complete denial about the precarious state of his health and the approaching end to mortality. In fact, it was a fantastic start. But, after the establishing shots of the film – Andrew in a cabin of hysteric people on a plane about to crash where he simply adjusts the air vent calmly; Andrew lying in his white bed with nothing other than a phone in the room creating a very bland, uncolored, uninteresting and (important to note) unrelatable setting that Andrew lives in – we find that this is precisely how Andrew is meant to be – unrelatable. He certainly is instrumental, though not the linchpin that Sam is. Braff, while he has the ability to hide emotion, doesn’t have the ability that Tautou has to fleetingly betray what Amélie is feeling on the inside. The green we see in Amélie is sometimes pretty dirty and grungy. Plus, I look forward to a good cry. So, my decision, Amélie gets a point. Many times the same example pops up time and time and time again, each with their own meaning, though all along the lines of the distance between Amélie and other characters. I would say that every close-up has a purpose in this film, and I’m not about to detail the hundreds of them. But Zach Braff is no Audrey Tautou. But, quite easily, with the wrong casting, Sam could have been an obnoxious lier who the audience comes to loathe. Black and white is used in the traditional sense of shading – how can any film avoid shadows and light? If this type of post proves to be successful, I’ll go and do the next one I had planned. And while this pushes and helps the film to no end, it, ultimately, costs Garden State the one point for main character comparison. Because that’s what we have here – Amélie is such a simple character, but as the film progresses, and what we first perceived as simple turns out to be a façade that Amélie has built up to protect he extremely complex and teetering true self. I have distinct memories from Garden State, and all of them are of Natalie convey the strongest of emotions – a bright smile, a believable laugh, crying in the phone booth. It’s a difficult task, and a task well done by Braff. But what makes them so good? Here is the most notable example (and I always thought that I had published that in early ’07, when it was, after all, December ’06). Generally, though, the camera work in Amélie excels because of the variety of ways we see Amélie through the camera. Let us examine the first of these categories: camera work. That certainly helps it’s grab at the point, but is dampened by the fact that. Because Raymond’s character traits contrast greatly with Meursault’s, he also functions as a foil for Meursault. I believe Zach Braff has pulled the short straw on this one. But no more! Other than that, there isn’t a whole lot to point out. There’s a range of categories that I’ll judge both films by that will no doubt vary between the films. It’s slightly ambiguous – and not in an effective way. In my opinion, this role was the better of the two. The image of Andrew in a mirror is a classic representation of a character of his type – split, undecided, lost. So what film can possibly win this point? I can see why the length would have. In summary: While Braff is a fantastic actor, and in my opinion has his best role and performance in Garden State, Audrey Tautou manages to streak ahead with her portrayal of Amélie. I’ve sung the praise of Amélie before, and repeatedly. Here we have a character that could be construed as cliché by someone who doesn’t appreciate the film or the simple-complex character. But Amélie brings the foreign flavours of film to us. I’m a very considerate blogger. I dare to say that Portman also can convey and evoke as much with a smile as Tautou, if not a degree more. And it’s not a hard thing to do with Audrey Tautou enticing you to. But Garden State has actual comedy elements. It’s whether Andrew is more or less relatable than Amélie that is important for a character comparison. Get the full list of cast and characters in the movie Amélie. Also, Amélie has many moments when you find yourself smiling at something or someone. Amélie has emotional reasons for her isolation; Dufayel has physical ones. Natalie also has the ability to send out strong emotions. He paints like Renoir. Perspective is of the utmost importance in this film. For example, Sam, after it being revealed to all that she lied about why she had a helmet with her, says that the real reason she had to carry it was that she had epilepsy, and needed it to stay employed (in case she had a fit and hurt herself). I fail to see how this is the reason for having Nino, as I would put the finger on him to be one of the two main influences on Amélie through her journey (the other being Raymond Dufayel, who might have warranted his own section of comparison with Mark from Garden State). for all it’s value, uses and suffers from normal Hollywood techniques, which is something that does surprise and hurts me. A while ago I mentioned a new way of doing my own movie reviews in a post back in March. Raymond Carver Short Fiction Analysis Last Updated on May 11, 2015, by eNotes Editorial. And because this emotion exists inside of him, build up over the years, I also find it hard to believe that not even an ounce of it would have crept out once in the movie at a part that betrays Andrew’s real feelings. and find homework help for other Raymond's Run questions at eNotes There are powerful implications for a film when it breaks down that wall – most importantly, the characters acknowledge that they are only movie characters, and that they really don’t exist. To sum it up: Amélie suffers its first defeat in comparison of secondary characters. Look at the four base colours there – black, white, red and green. There’s no hustle and bustle and stress and ‘tightness’. Fran is not enthusiastic about going. Rabbit’ sang its praise (I think) once as well. A smile from Audrey Tautou in this role makes you smile back. The character is lively, individual and unique in much of the same fashion of Sam and Amélie, but he just isn’t as interesting as the two. Amélie Poulain is, and I can’t believe I’m about the type this, the main character of Amélie. Andrew has to contend with real problems, he has to deal with real people, and he finds himself in contexts, environments and settings. She also is the single influence that reanimates Andrew which sets him on a more fulfilling and eventful journey. But strangely, it’s portraying her as having less power. The painting that Raymond is working on will become a metaphor for Amélie’s life later on in the film where both characters talk about Amélie, though neither really knowing (or at least acknowledging) that they are talking about her. A man who collects discarded photo booth photos would naturally have antisocial tenancies – Kassovitz manages to convey these quite effectively. Now it’s onto the juicy stuff. Whereas Meursault is simply amoral, Raymond is clearly immoral. I’ve pretty much mentally mapped out what I want to write, and have handwritten a lot of it. And I’ve never touched on Garden State even once, which I’m ashamed at. The storyteller represents the story’s dominant subject of get the better ofing fright and bias of the blind through personal experience every bit good as common regard. Raymond is one of Squeaky ’s brothers. It’s in typical Braff style (to turn a serious issue into part-comedy), but it’s the essence of Sam the character that enables us to take a look at ourselves and laugh. Natalie Portman distinguishes herself by refusing to do nude scenes, not engaging int the modern ‘celebrity’ notion, hasn’t (nor will I predict) follow in the traditional footsteps of modern actors, but manages to pick the odd dodgey film to act in). It’s a beautiful film, so simple, but, as we’ve seen (or I’ve told you) it’s somewhat complex when you take it apart. She decides to help those around her and, along the way, discovers love. It would take a mighty character to overthrow Amélie from gaining the first points in this movie battle indeed. There’s a phone and perhaps an electric shaver, besides the bed, and everything is white. In the movies, the blind moved slowly and never laughed. You laugh. So what the heck is this shot doing? He served as a sergeant in the Korean War, where he was brainwashed by a Soviet and Russian and programmed to become a sleeper assassination in service of the communists. The vibrancy of the two colours, and only two, is just amazing. Character Analysis Raymond He is short and thick-set and has a flattened nose. But can Mathieu Kassovitz come out from behind the eight-ball with his portrayal of Nino Quincampoix? The first one He has prejudices against blind people and African-Americans: “My idea of blindness came from the movies. While Andrew is construed as this real and ‘sterile’ character who has been dumbed down by medication and suppressed emotions, the people around him are not so, and you find yourself drawn to the people that come into contact with him. And, note, that she’s holding a glass. Either way, the two films are full of them. The uniqueness and individuality and the quirks that she brings to the role gives that lively edge to Amélie. Antihero. We get a scene that does all that: it starts with a mid-shot of the three characters, then zooms-out, and out, and out. Natalie Portman, as Sam, provides, in this blogger’s opinion, one of the top two performances of her career. She’s realised that she is alone, really alone, and, with the events leading up to that point as a reference, because of her own actions. I guess that this is because of the conflicting state of mind that Andrew is in. Unfortunately, I cannot say that he did. That being said, he is a flawed character who is just trying to please his wife while not giving up what he wants. How so? I have my suspicions (and it relates to the obvious religious undertones), but I don’t like to venture such far guesses concerning films. This hearkens back to the beauty that is the Amélie character, but also acts as a testament to Tautou’s abilities as an actor. brings the foreign flavours of film to us. While the entire array of characters that both films present, if compared as an entirety, would have seen a much more difficult and hard fought battle, Sam up against Nino is, in my opinion, a no-brainer. When emotion should be evoked within the audience, the red is flooding the screen, it’s warmer and it’s related to what’s going on with the characters. I previously spoke about how the camera is distanced from Amélie regularly, and gave you an example. It is used to show. But I’m not disappointed at that – there is a tendency these days to try and deliver too much information through lighting that it has become a cliche. Yes, that Anton Chekhov. If the camera does come to a stop, most of the time it’s a close-up on one of the characters. The painting that Raymond is working on will become a metaphor for, Amélie’s life later on in the film where both characters talk about. They are overt in that they are readily available, but subtle because you have to know what they mean, and they might not be so obvious as you see them (or perhaps you have to wait until the end of the film). For Garden State the settings, and thus ‘feel’ of the film, are set up through the way the camera is wielded. Andrew Largeman is one of the most masked characters I’ve ever seen in film. Amelie Character Analysis Amelie Character Analysis 944 Words 4 Pages Show More Amelie recounts the story of a lonely girl who makes use of her imagination as a way to cope with negligence and her social deprivation. Garden State is, for the most part, is an independent film – it’s written, directed and staring Zach Braff. Now, for a comparison for the two people who bring the previously compared characters to life. As an example, when we first see Andrew after the dream sequence, we start with a view from the corner of the room furthest away from Andrew, then come to a shot right above, where, in cut stages, we get closer. Jeunet created an original Then we are taken to her house, which is just as colourful and just as ‘random’ (that picture gets random because you can see the year-old Christmas tree and the labyrinth of hamster tubing) as this strange girl we’ve just met – and strange in a good way. lame, impotent, and distressed at the moral decay of his daughters. What’s going to be focused on here is technical and story aspects, because that’s what resides with you when you’ve finished watching these films. I could almost believe that he lived all alone and worked in an adult entertainment store, was a recluse (in the barest of senses) to the world and had lost his direction, while enjoying getting lost. And, of course, the high to far camera movement of this shot is symbolic of the isolation and distance that Amélie has established herself in. He’s stopped taking his ill-prescribed medication, and now he can see that the world is this fast-paced race, and, through all this, he’s still the same person. Because Sam brings into Andrew’s life real stability, not the pseudo-crutch that the drugs he takes provide. . Why I Think This Is A Classic International Movie. The camera, I have noticed, is usually moving – either following characters or zooming. They are, after all, of the most importance to any film. Andrew, and thus what revolves around him in the film, is real. Where to now? The reddest place in the film Amélie’s room. She has the ability to tug on the emotions of the audience with just the facial expressions that she can produce. But, most importantly, he isn’t complex for complexity’s sake, nor is he overly complex. It’s a massive difference from earlier work, and strangely, such is Portman’s acting ability, you can forget all those other roles as she draws you in on the film you’re watching there and then. Next time, when I pair together The Star Wars Saga against The Lord of the Rings Trilogy, while there will be some categories that have to cross over, what makes Star Wars and Lord of the Rings great are different to what makes Amélie and Garden State great. Sam is partly there for some comedy against the seriousness that prevails in Andrew’s life. I tried to think of a metaphor for him, and the best I could come up with was a mask, inside of and onion, wearing a mask, wearing an apple skin. I’ve omitted directorship, editing, production and special effects because most of the story is convey through either a) the characters; b) the acting or; c) the technical aspects that the two share. I’ve always wanted a theme to my blog; perhaps movies is that elusive theme. I make no lies of it. What is the rest? We have, again, high and distant shots of Andrew. It is a terrific film about love, the emotional journey of one man who doesn’t like where he is, nor does he even know, and the unique and colourful characters that surround him (and ultimately us). Instead, he manages to effectively stifle all of Andrew’s emotions and feelings and expressions to the living-comatose state that Andrew has been medicated into. For the technical side, the camera in Garden State is still and somewhat standard, though, as I explained before, it works to its advantage. – and even simpler when you’re using two. Others would argue against this, but because this is my blog, it’s the truth. In fact, I don’t think I’ve seen a steeper shot of a character in some time. We have, again, high and distant shots of Andrew. Further, Nino doesn’t act the catalyst that Sam does. Inner characterization. The audience doesn’t need to be fooled into thinking that either Amélie’s problems or their own are of no consequence to either party, and thus another front of relatability is opened on the audience. And when watching Garden State I come to notice one things – I am more ‘invested’ in the other characters that revolve around Andrew rather than in Andrew himself. I would throughly enjoy comparing similar, main roles that Portman and Tautou had, if they have had any that is. And it’s Amélie simplicity, thus, that attracts us to her from the outset. Note that Amélie is looking through a lens. He was an actor, known for Amélie (2001), The City of Lost Children (1995) and Danton (1983). Sam brings the life to this film with the other supporting characters. But the smile and the expression that Kassovitz puts on isn’t exactly clear. And, to be honest, there are few better examples of technical superiority or experimental successes in movies these days (nor for the past ten years I’d venture a guess at) than Amélie or Garden State. He becomes a character in the story “Errand” which takes place as his life is drawing to a close. I don’t think that sentence can convey the meaning that I want to send out. It is my belief that that isn’t an important question when comparing the two films. Amélie wears and the green clothes that Mr. Amélie that I brought up just a moment ago. Here’s a post I’ve fantasised about doing for a long, long time. I find myself empathising with Amélie right up to the end of the film, and finally, when she manages to find what she has been looking for through the whole movie (an untangled and ‘simpler’ life, and the ability to love), a welling of emotions and the feeling that she’s going to be alright. She not only brings this character to life on the screen, she brings her to life in you – you believe that Amélie can, and does, exist by her performance. Then, come ‘the fateful event’ that acts as catalyst to the unfolding of the film, and as the film steadily progresses to its conclusion, we, at a more rapid rate, realise that Amélie battles her past, her problems and her complexity in a way that almost seems familiar to the audience. While the settings are important in Amélie, it’s importance resides in the colours being used, which I will talk about later. She is lovable and kind and interesting and unique. Amélie, she is holding a glass. This use of the camera is also a double-edge feature here – remember that Andrew Largeman is drugged into an emotionally ‘dead’ state, and would feel like everything is moving slow. But Garden State gets one and a half points for the fact that, yes, the film manages to make unique of what is standard. Answers, for Amélie’s and our questions, lie within. My adoration for Natalie Portman is no secret, and may (likely to) have clouded my vision here. But colours are pretty simple to understand in. From the start of the film to 00:09:12, we have a summary of Amélie’s childhood, and sets the character up brilliantly to where we first meet her as an adult.

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