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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You can rely on Disney’s well known Pirate franchise for one of the universal laws of cinema. As sure as night follows day and the tide washes in and out, each successive film in the Pirates of the Caribbean series will be worse than the last. Like a basket of juicy fruit left to rot on a sunny beach, the individual ingredients that made the first film so fun gradually lose their enjoyment. You can also bet your house that in increasingly more desperate attempts to recapture the magic of the Black Pearl’s virgin voyage, the plots will acquire more baffling layers with each new instalment. And this film’s ending proves once again that there will always be room for yet another adventure.
However this film does break some new ground. For example for the first time ever, the title is as confusing and vague as the many competing strands of the story. The tides are certainly no more or less important than before and there is nothing strange about the film; within Captain Jack’s world at least mermaids and myths are pretty standard fare.
Things get off to a familiar but promising start. Our beloved scallywag Jack Sparrow is in London to rescue sidekick Mr Gibbs from a trial, which would be swiftly followed by a hanging if the bloodthirsty crowd had their way. After some costumed shenanigans and typically camp stalking about, Jack and Gibbs find themselves at the King’s palace. The crown wish to find the fountain of youth before the crafty Catholics in Spain and they’ve heard Sparrow knows the way.
Jack gets an audience with the King in a sumptuous room and Depp gets ample opportunity to showcase the physical comedy and wordplay audiences have come to love. The King is played by Richard Griffiths in a delightful cameo. Needless to say Jack manages an escape. Later in the film Geoffrey Rush’s Barbossa takes the time to mentally plan an escape route, presuming that’s what Depp’s madcap Sparrow does, only for Jack to reply that he sometimes “improvises”. The running and jumping through an impressive CGI London in the film’s opening segment, is ad hoc Jack Sparrow action at its best.
Sadly the film simply cannot maintain the entertainment levels as chase follows chase and sword fight follows sword fight. Most of the action is surprisingly inventive, especially since we’ve had three films already but at times even Jack’s luck over judgment leaps of faith enter ridiculous territory. The stunts become monotonous by the end because of the film’s relentless opening barrage, tarnishing the drama of the finale. There are no explosive cannon battles for those who love their ships and nautical duels. Instead of boarding we get an awful lot of trekking through the jungle.
Having said this, two standout scenes are exciting and engaging. I’ve already mentioned Captain Jack prancing his way around London but the first mermaid attack scene is also terrific. Only the Pirates franchise could deliver such a scene. It’s got frights and bites, fangs and bangs. The mermaids are less interesting by the end, but here they are introduced in a lengthy scene as seductive and dangerous. The attack comes as a real shock and well managed change in pace after they are lured in to enchant some pirates left as bait.
The mermaid battle is an epic, long scene and the film is so long that it loses much of its epic feel. Sub plots like a half formed romance between a mermaid and clergy man could have been slimmed considerably or dropped altogether .The runtime is literally bladder bursting, as a friend of mine dashed from the room as soon as the credits rolled. I was content to sit and watch the names of the cast fly at me in 3D however, because of Hans Zimmer’s magnificent music, which remains the best thing about the Pirates of the Caribbean. There are some nice variations and new additions to the main theme in this instalment but I can’t help feeling it’s time he focused his talents on new projects, rather than continually recycling one stunning track.
Hang on though; surely this is still worth seeing just for another outing from Johnny Depp as Captain Jack Sparrow? Isn’t he the single most important pillar upon which the blockbusters are based? I always assumed, like many critics, that the romantic pairing of Orlando Bloom and Keira Knightley in the previous films was holding back Depp’s brilliance. But having seen On Stranger Tides, in which Depp must mostly steer proceedings alone, his performance is somehow less effective without them.
He is at his best in this film when dancing around other characters, making light of them. Penelope Cruz is suitably sassy and sexy as a pirate, albeit with an unrealistically attractive cleavage for a hardened sailor, and she and Depp have some fun exchanges, but putting Sparrow at the heart of a love story doesn’t work. Even the filmmakers realise this by backing out of it somewhat at the end. Captain Jack Sparrow is not the emotional type. And what made him so attractive to audiences, was the way he mocked the clichéd relationship between Bloom and Knightley. Making him part of the conventional storyline robs his performance of some of its power.
Depp is still fantastic fun at points though, rising above an overcomplicated script with a bizarre fascination for throwing in random and rubbish rhymes. This film may just go through the motions and it may be far too long, but it’s undeniably grand and fairly pleasing despite the odd yawn.
Rather than fork out for its occasional 3D gimmicks of a sword jutting out of the screen though, I would recommend ditching the high seas for inner city London and Joe Cornish’s critically acclaimed directorial debut, Attack the Block. I saw this just hours before Pirates 4 and without adding anything new to the chorus of praise around it, I will just say go and see it. It is funnier and more thrilling than Rob Marshall’s blockbuster and doesn’t deserve to sink.
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