Picturenose

Code cracker

Given all the recent talk on Picturenose about alleged bad films (and Colin taking the mickey because I did in fact happen to enjoy The Bodyguard (1992)), the time seems right to present my take on a very successful film (that was adapted from a hugely successful book) that, er, didn’t go down too well with the critics on its initial release. Well, I liked it, and here’s why…

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Amazing Amélie

Pre-Iraq II, Time magazine ran a cover story rationalizing the ‘freedom fries’ line - WHY FRANCE IS DIFFERENT. Interestingly, the cover star was Audrey Tautou, which was a pic ed’s nice take on softening the editorial frog-bashing. This was indicative of the unarguable fact that nobody could quite rationalize - beyond Tautou’s indescribable beauty - what made Amélie (as it was known in the anglophone territories) such a sensation in spite of its unashamedly atavistic celebration of a dying Frenchness, right down to Amelie’s clogs, the Catholic notion of charity, the Proustian notion of nostalgia.

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