26 05 2010

The new Jean-Pierre Jeunet (Amelie) film is about a very quirky group of characters who concoct a series of wild plans to bring down two large weapons manufacturers.  The title translates to “Non-Stop Madness,” which is really a perfect description of the movie.  It’s surreal, comedic, and completely off-the-wall.  Jeunet’s stamp is all over this one, so if you’re a fan see it immediately (like you need telling), but if you’re not then avoid at all costs. 

One special thing I’ve always loved about Jeunet is that even though he dreams up some of the most wild and colorful characters, their quirks always seem natural and never contrived, unlike say, Wes Anderson’s characters.  I also have to mention the visuals, which are always beautiful in Jeunet films but especially so in Micmacs.  It’s got that incredible trademark Jeunet color-scheme, which I think he gets through digital intermediate?  I’m not sure about that, so if anyone knows they should share that info in the comments section (I can’t seem to find it anywhere)!  Anyways I strongly recommend Micmacs, it’s one of Jeunet’s best and it’s just a fun, fun movie.




5 responses

3 06 2010

Burn, Wes Anderson! But yes, I know exactly what you mean. I need to watch Micmacs!

8 07 2010
Paragraph Film Reviews

Watched this last night, absolutely fantastic film. It’s like reading a kids book, and really enjoying it. Great style, absolutely engrossing.

Would recommend “Love me if you dare” too if you like the French-ness of Amelie / MicMacs / Delicatessen et al

8 07 2010

Yeah I’m a fan of that one too. Love Marion Cotillard. And it is very French, haha.

9 07 2010
Paragraph Film Reviews

My review of Micmacs is going up later today, snap on the score.

Also, just found this… may be of interest.

“Color toning is always an important part of Mr. Jeunet’s films. Much of his work is bathed in warm shades that create a sense of the hyperreal. But for contrast, the filmmaker used cooler colors to depict the battle scenes in his World War I drama, “A Very Long Engagement.” “I want to modify the reality, so I feel like a painter,” he said.

In his early films, the process was more of a chemical one, with Mr. Jeunet and his cinematographers coming up with new ways to develop the film to get the desired effect. Now the color toning is done digitally, an easier process that offers a wider color palette. Yet the variety of choices makes the color correction that much more time-consuming. “In the chemical process we’d spend maybe three days to fix the color,” he said. “Now, seven weeks.””

Seven weeks just to get the right masking effect for every single scene… that’s dedication!

10 07 2010

Thanks for the info!

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