Sometimes you really wish you could forget someone. Not because you want to but because you feel like you have to. People are forever telling you to “move on” from them, as if they were a shifty beggar in the street wasting your time. They have condemned you to the rubbish dump of their lives, so you should do the same. Whatever you manage to salvage from the wreckage of them will only remind you of the way things were before the crash, in a time you cannot travel back to. It’s time for a new stage of your life, minus them.
There are days when it feels like you might be able to do it. There are loads of things to live for, more pluses than minuses dotting the horizon of the future. But the thing is life has a knack of throwing reminders your way that jolt you back to her, to him, to them, to there. Oh look, memory sneers in a stage whisper from the shadows, it’s the bar you spent all night talking in, the river bank where you first kissed or the station she used to get off at. Even when you’ve succeeded in blanking them out from familiar places, their memories surprise you in other ways.
“This was our song” is a phrase you often hear from the devastated dumpee, just before their face melts in a cascade of noisy tears, possibly years after the breakup itself. Then there’s the novel that becomes ostracised on the book shelf because of a strange connection you are suddenly seeing these days within its pages. Even their favourite paper or magazine can give you a slap in the newsagents occasionally.
Some of the worst offenders are films. There will be the trashy romantic comedy given inexplicable significance because it happened to be your first date. There will be films that divided you and films you wished them to see. And there will be some favourites of theirs you never found the time to watch.
This was the case for me as I finally watched Amelie in its entirety. I had seen bits of it but never the whole thing. I knew that the music was fantastically whimsical and enchanting. I had watched an uplifting scene via YouTube in which Amelie spirits a blind man along a street, vividly describing everything in a whirlwind of sensuous movement. I knew it was French and starred Audrey Tautou. And I knew it was one of the favourite films of someone I wish I could forget.
In a way I was desperate to hate Amelie. I knew what it would be like because I knew the people that liked it. I was hoping that it would try too hard, alienate me with its quirkyness and annoy me with its arty farty simplifications. There were times I felt a little like that. But mostly I loved it.
Why did I hope that I wouldn’t? It was hard at points to be enjoying it so much because they enjoy it. How much easier it would have been to be repulsed and to have found another tiny reason to take another minute step forward and away from the past!
Amelie is about being alive, feeling alive and dreaming. It’s about the smaller things, so particular and peculiar that they must be real, containing a touch of magic that makes life worthwhile. It is extremely funny and eccentric, fresh and unique.
It’s the eccentricity that I thought might annoy me. I thought that Amelie might have been quirky for its own sake, as so many films of its ilk are. But Amelie’s comedy is crucial to its success. It is almost self mocking at times with the ridiculous and random nature of its details.
In the opening twenty minutes I fell in love with the narration. Normally voiceover is catastrophic and awful. Perhaps Amelie’s is so charming and intoxicating because it is French. Or perhaps it is that at once meaningful and light hearted tone, which doesn’t take itself too seriously. Amelie feels like a novel throughout its enjoyable beginning which explains her tragic yet amusing childhood. Characters are brought to life instantly because of their odd habits and Amelie herself has baffling, childlike musings about the world which add to her appeal.
I was disappointed when the narration became less frequent throughout the film, which is extraordinary given my usual distaste for voiceover. I loved the musicality of the voice, the specific details it would come out with and the telling but mysterious insights we’d instantly learn about characters. Most of all I loved the way it seemed to mock any work of art trying much too hard to stand out.
But the retreat of the narrator brings Amelie herself to the foreground. The wonderful lines from the narrator are replaced by some witty and surprising scenes of dialogue. The visuals and sounds of the film grow and grow until modern day Paris seems like a wondrous place, with deserving and interesting souls to be saved on every corner.
I expected Amelie to be preachy, perhaps patronising or too desperate to be different. I wanted to dislike it for my own good. But in the end I am glad to have seen it. I liked it because it’s good, not because of any associations it has with anyone. I thought it was unique and it made me feel alive and full of possibility, regardless of what others think. It’s a beautiful and beguiling film that reminds us how life can be so too, with dreams coming true, big or small, out of nowhere.
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It was a weekend of clichés. The FA Cup was restored to its place at the top of English football and in the hearts of millions of fans. Thousands poured forth from homes not usually filled with the sounds of football chatter to watch David vs. Goliath encounters. Communities came together and embarked on quests to places suddenly rendered exotic wonderlands. Who would have thought Manchester could seem such a distant, unattainable paradise?
There were shocks across the board. Even in an all Premiership tie in London, eye brows were raised as the holders Chelsea were dumped out. But the novelty attractions lay elsewhere in the form of so called minnows taking on the swaggering, mega-bucks big boys. Leyton Orient snatched a replay with Arsenal. And of course there was the tie of the round.
It was the dream draw on everyone’s speculative lips as the balls were swirled and plucked. No one quite expected it to really happen, despite the FA Cup’s notoriety for such things. Non-league Crawley Town, netted a huge financial windfall from the grandest theatre of football in the land, not to mention an unforgettable “day out”.
I say “day out” because it was always going to be more than that. United’s FA Cup jitters have become commonplace in recent years and Crawley were up for the occasion. They’re also a team studded with players that could play at a higher level, bought for sizeable sums in non-league terms. Crawley are now reaping rewards that are not merely financial. Thanks to holding the Premier League leaders and the world’s most famous team to a mere 1-0 win, they have secured a place in the hearts of countless neutrals and established themselves on the football map. Many would say they deserve the plaudits for a fearless second half display in which they dominated a team far above their standing.
I am reluctant to praise Crawley and refuse to join in the enthusiastic congratulations. Yes they played well at Old Trafford and reasserted the reality that the so called stars of football can be little better than a well organised, galvanised lower league team in a one-off match. Yes they gave hope to other small teams hoping for a break and injected life into the dreams of youngsters. Yes they hinted at the FA Cup’s ongoing ability to charm and surprise. But the manner in which they progressed from the previous round tarnished the innocence of their fairytale moment for me.
Until they burst onto the scene courtesy of an FA Cup run, I’d not heard of Crawley, the so called “car park for Gatwick” of the non-league. I don’t follow non-league football so I have no bitterness about their supposed Manchester City like spending to propel themselves towards the football league like an unfeeling big stack bully. But I saw the highlights of their triumph over Torquay.
The behaviour of the Crawley players in that game was nothing short of shameful. There was talk of the squad showing disrespect by warming up in the home side’s goalmouth prior to kick-off and of spats between the managers behind the scenes. On the pitch Crawley displayed evidence of dirty tackling and unsporting tactics alongside promising bouts of impressive football. Worst of all were the school boy tantrums surrounding two missed penalties.
Crawley players literally fought each other in fits of moody rage for control of the ball and the right to have a go from the spot. They tugged at each other’s shirts and unmistakeably swore. They abused the referee and demanded cards for their opponents. It was an ill tempered match and Torquay also had a sending off, but those two petty squabbles over penalties highlighted Crawley’s immaturity, arrogance and disrespect.
There’s been all the usual talk about the “magic” of the FA Cup surrounding Crawley’s tie with Manchester United. But for me if there is such a thing as FA Cup magic a key ingredient of it is the good behaviour and pure innocence behind the lowly sides’ valiant and courageous displays. There’s an assumption these days that it’s the money at the top of the game that breeds the bad side of football. I didn’t believe this to be entirely true. But the arrogance and disgraceful behaviour demonstrated by Crawley against Torquay, that sets such an unsporting example for watching youngsters, seems to suggest that even an injection of cash lower down the leagues can lead to behavioural problems and dissent in the dressing room.
It’s a worrying trend of excessive wealth tainting all corners of the game, given greater weight by Leyton Orient’s chairman Barry Hearn’s plans to fly his squad to Las Vegas as a reward for securing a replay with Arsenal. On the surface this is far more acceptable than Crawley’s shocking antics on the pitch and simply a part of another cup fairytale. But why isn’t a replay with one of the country’s greatest teams reward enough? It seems football in itself isn’t enough anymore. After the ludicrous transfer window the last bastion of pure football, the FA Cup, appears under threat too. Cup glory is becoming a trendy badge, an accessory or piece of bling, rather than something honourable, innocent and valuable all by itself.
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