Thursday, June 30, 2011


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In this scene from Amelie Director Jean-Pierre Jeunet and Cinematographer Bruno Delbonnel use camera distance, angle and movement as well as the frame composition and mise en scene to strengthen the meaning of the story. Amelie, a shy, introverted girl, becomes the fairy godmother to unknowing inhabitants of Paris making each of there lives more fulfilling. Throughout the course of her meddling she encounters Niko, an old grade school classmate. However it is not until the end of the movie that she reveals herself to him and of course they fall madly in live. In this scene the two lovers are riding on a moped down the streets of Paris.

Throughout the film the frame composition has focused on the details of the background to the vibrancy of the color palette. However with the actors in the foreground of the shot they now are the focal point of the action. Also the use of close ups shows the expressions of the actors more clearly which gives the audience a more intimate view of the relationship of these two people.

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This shot is extremely realistic compared to the Expressionistic techniques used throughout the film. With the use of handheld cameras and documentary film stock the audience feels as if they are witnessing first hand the compainship and love these two recluses who have found after yeaqrs of lonileness. The use of camera angles at mid range also contributes to the realism of the shot. It seems to represent that Amelie has transcended her make believe world and her fairytale dreams have now become the perfect, romantic ending.

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