That traveling gnome was my sewing inspiration. Having watched it so long ago, all I really remembered about the movie was loving it, and it was so much fun to see it again and get inspired to sew.Īmélie has a penchant for anonymous good deeds, and one of my favorites is when she kidnaps her father’s beloved garden gnome and asks a flight attendant friend to photograph the gnome visiting landmarks of the world, hoping to encourage her father to follow his own traveling dreams. This month’s movie is Amélie, which happens to be the first movie my husband and I saw together while we were courting back in 2002. In case you missed their Film Petit kick-off, they both sewed outfits inspired by The Life Aquatic, and they were amazing. Draped in bordello red velvet and decorated with mismatched lamps, antique furniture, piles of pillows, and prints by artist Michael Sowa, it’s part Moulin Rouge, part fairy tale, and everything you’d dream a fake Parisian flat would be.I am so excited to be the very first guest to join Kristin and Jessica in their Film Petit series! Texture, though, is everywhere on the interiors, especially in Amélie’s apartment. Fontaine and Lebail stick with small scale prints - ditsy florals and polka dots - for the ladies of Café des 2 Moulins. When she goes incognito in cat’s eye sunglasses and head scarf, the Audrey Hepburn vibes are unmistakable. Much of her look reads very secondhand, especially the just-too-big coats, one of which features pearl trim that Amélie could have sewn on herself. Martens oxfords with rolled down socks (better for running all over Paris plotting adventures). Miss Poulain’s uniform consists of below-the-knee skirts, skinny knits, cardigans, and a pair of Dr. Likewise, costume designers Madeline Fontaine and Emma Lebail kept Amélie’s wardrobe simple yet saturated in those signature colors. (Jeunet even digitally altered overcast skies because he preferred clouds to stark whiteness.) Warming filters on the camera aided in the film’s dusk-like glow - there are almost no night scenes - and colors were punched up in post production using a process called Digital Intermediate. Lavish scenery is awash in shades of ruby, emerald and gold with the odd splash of bright blue, a visual style borrowed from painter Juarez Machado. With Bruno Delbonnel as cinematographer, every frame is postcard perfect. He spent an extensive amount of time location scouting, switching up subway wall posters and meticulously cleaning exterior sets prior to shooting. Filmed in the Parisian suburb of Montmartre, Jeunet purposely created a “Fake Paris” that looks like the stuff of childhood dreams. By contrast, Amélie is a quirky comedy set in modern times, but with an unabashedly nostalgic mood. Now in her twenties, she must learn to break free from the chains of insecurity if she wants to make her own wishes come true.Īmélie was a departure for Jeunet, who was known for dark, twisted fantasies like Delicatessen and The City Of Lost Children. Amélie’s painfully shy, a quirk rooted in a lonely childhood filled with fictional friends, daydreams and stratagems. Played by the winsome Audrey Tatou, Amélie, not unlike Jane Austen’s Emma, makes it her mission to help everyone around her, but has problems helping herself. In his 2001 masterpiece ‘Le fabuleux destin d’Amélie Poulain’, French director Jean-Pierre Jeunet paints the tale of an introverted young woman with a wickedly colorful imagination. With Amélie, Jean-Pierre Jeunet created a coloring book-style Paris that continues to inspire.
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