Tuesday, May 6, 2025
Blog Page 1961

What Makes A Classic: On The Waterfront

0

Never has and never will a film be made that is quite as awe-inspiring as On The Waterfront. Never will an audience be so angered by the injustice they see, and so encouraging of the protagonist’s fight back. Never will one actor become a force of energy so strong, that they make you question whether films are about their directors, and whether actors are really the people we should all bow down to and revere for their power and creativity.

That actor, of course, is Marlon Brando. He is considered the greatest actor of all time, and in On The Waterfront we see why that title is sufficiently merited on the basis of this one performance alone. He embodies his character beyond all proportion and expectations of what is possible. Not one line sounds inauthentic or is thrown away without meaning. He becomes Terry Malloy, a failed prize-fighter who now works as a puppet of the corrupt bosses of the waterfront. He is conned into setting up the death of one of the peasant workers who is talking a little too openly about the nature of their activity, and, in time, as the corruption and willingness of his bosses to murder spirals out of control, he becomes the canary and takes the stand he selfishly refused to in the past.

Impersonally speaking, then, it is a story of political growth: the struggle of a community of silent workers in passive acceptance to find someone willing to make that all-too-risky courageous stand that just might spur the others on and give them collective strength. The disincentives of putting your neck on the line had prevented any such power-shifts for a long time. But, in the end, Terry Malloy has the balls. Inspired by the consciences of the almost socialist priest and sister of the murdered worker, he realizes that letting them control his life is cowardly. “I was ratting on myself all those years and I didn’t even know it.” He takes a stand, and watching him do so, watching Brando do so, is without exaggeration simply spine-tingling.

Al Pacino says he saw On The Waterfront when it first came out in the cinema as a teenager, and by the end of it he couldn’t move. He kept seated, waited for it to start again, and watched it through for a second time. It comes as no surprise to me that his reason for doing so was Marlon Brando. He makes On The Waterfront a classic like no other.

 

Online Review: Eyes Wide Open

0

In his debut film, director Haim Tabakman makes a bold statement with his choice of subject. Eyes Wide Open sees a Jewish orthodox butcher named Aaron (Zohar Strauss) gradually seduced by the young nineteen year old Yeshiva student Ezri (Ran Danker). Aaron is married with four children and is well respected in his community, but his life is distinctly lacking in passion. When he hires the wandering Ezri to work in his shop his whole world changes. In a striking line, Aaron says to his rabbi: ‘I was dead. Now I am alive.’

Obvious parallels with Ang Lee’s Brokeback Mountain will be drawn, for both films tackle homosexuality in highly conservative and unforgiving settings. However, Eyes Wide Open possesses a rare and original quality of its own. The story takes place in an extremely orthodox neighbourhood in Jerusalem, where the dark and heavy colours of religious garb dominate. The tone is sombre and tense throughout. The joy that comes out of Aaron and Ezri’s relationship is marred by the suffering of Aaron’s dutiful and adoring wife Rivka. In a saintly display of love, Rivka stands by her husband throughout the whole humiliating affair. Then again, in this oppressive community, what other choice does she have? The most gripping part of the film comes when the local ‘Decency Police’ become involved in the lives of the characters. We get an insight into the strict and suffocating world of the ultra-orthodox as we see these morality enforcers rely on violent methods to curb the actions they view as so sinful.

Originally intended as a short film for television, Eyes Wide Open is low key in its production. The streets of Jerusalem are empty and grey and there is a constant stream of scenes without dialogue. Even the parts of the films which depict Aaron and Ezri in lustful embrace come across as relatively restrained. Tabakman handles their forbidden relationship with sensitivity and understanding. By the end of the film it is hard to say whether the two men have, in fact, done anything wrong.

On the whole the story is evocative and thought provoking with an undeniably fresh approach. It is unlikely that you have seen anything quite like it before.

Strictly come Dancesport

0

Saturday 15th May was an incredibly successful day for Oxford at the 37th Dancesport Varsity Match held at the Iffley Road Sports Centre. After a fantastic day of competition, during which both sides displayed a very high standard of dance, Oxford emerged victorious in both the Varsity Match, by 2051 points to 1729 points, and also the Challenge Match, by 2111 points to 1669 points. This result capped a highly successful year in which Oxford were also crowned champions at the British University Dancesport Championships.

Eighteen couples represented Oxford at this year’s competition – nine couples competing in the Varsity Team and nine in the Challenge Team. The Varsity Match, which is unique on the university dancesport circuit, requires competitors to demonstrate a high level of skill in both the constituent disciplines of dancesport. Over the course of the match each couple must perform in two ballroom dances (Waltz and Quickstep) and two Latin-American dances (Cha and Jive).

In this year’s competition Oxford dominated the ballroom section, both in the Varsity Match and also the Challenge Match. The Latin-American section was more closely contested, with Oxford winning the Challenge Match but Cambridge narrowly pulling ahead in the Varsity Match. The overall result, however, was a resounding victory for Oxford, who emerged overall champions in both matches.
Particularly impressive performances were given by Oliver Zeldin (St Cross) and Marja Verbon (Hertford) who won the trophy for the best overall ballroom couple; Peter Kecskemethy (Merton) and Sarah Farrell (St John’s) who were awarded the best overall Latin trophy; and Ivans Lubenko (Wolfson) and Helen Pearce (Keble) who were named the best couple overall, taking into account both disciplines.

We were incredibly honoured to welcome two very special guests to the 37th Dancesport Varsity Match. The Right Worshipful the Lord Mayor of Oxford, Councillor Mary Clarkson, was present for most of the Varsity Match. She was joined by Mr Morrin Acheson, the very first senior member of the Oxford University Dancesport Club (1968-85), who happened to be visiting Oxford from Switzerland – a truly serendipitous occurrence!

 

One hurdle too far

0

The Oxford University Blues men’s and women’s teams were both narrowly defeated in the 136th Athletics Varsity on Saturday. The men’s team were very unfortunate not to win their match, with a contentious decision in the 4x100m relay proving the difference between victory and defeat. The teams had two competitors in each event, and points were assigned to where each finished. At the end of the day the team with the most points are crowned champions.

In sunny conditions at the Roger Bannister Track, Oxford’s men began very brightly in the field, winning every event except for the pole vault. Captain Alex Skouby cleared most of his heights in the high jump competition on the third attempt, but eventually won with a clearance of 1.90m. In the long jump Andrew Bullimore jumped 6.70m to take the competition by just one centimetre. In the throws ex-New Zealand decathlon champion Pete Cox won the discus, javelin and shot put despite having an injured Achilles tendon. His success was backed up by Canadian Jeff Piercy winning the hammer competition.

The Oxford success continued into the middle distance events. In this year’s mile event Andy Hayes produced a stunning performance to win in 4 minutes 9 seconds about 50 metres ahead of his nearest competitor. In the 5000m Oxford also took victory through Luke Caldwell in what incredibly was his first competitive run at the distance.
Unfortunately for the dark blues the sprints proved their downfall. Cambridge took first and second place in the 100m, 200m and 400m – the latter being won by Louis Persent in a very impressive time of 46.72 seconds, only marginally off the meeting record.

Cambridge also had the better of the hurdles, and the better of the luck. Oxford’s Josh Gilbert tore his hamstring clearing the fourth hurdle, but despite his agony managed to take third place from a struggling Cambridge athlete.

The competition moved into the final events of the day – the relays – with the everything still hanging in the balance. The Oxford team were disqualified for a faulty change in the 4x100m leaving Cambridge to romp home to victory in the race and the competition as a whole. The race officials however failed to spot a faulty Cambridge change in the race that was noticed by many spectators (and even admitted by members of the Cambridge squad). If both teams had been disqualified the dark blues would have taken the victory. Hence, they were feeling understandably aggrieved.

In the women’s event Oxford were also beaten, but were able boast some more excellent individual performances exemplified by Captain Clara Blattler who took victory in the pole vault, 400m hurdles and was also part of the winning 4x100m squad. In the throws Beth Staniland returned from retirement following a series of knee operations to take victory in the discus, with Susan Hedge and Hannah Hogben also successful in the field. Cambridge were again superior in the sprinting events, taking first place in the 100m, 200m and 400m.
Despite the apparent lack of success on offer from both teams, there’s no doubt that after last year’s humiliating defeat to Cambridge, the dark blues can take solace from some very impressive individual performances and a fantastic team spirit across the side. The teams will be confident this can see them through for the rest of the season and that they can take their revenge back in Cambridge next year.

 

Britain’s stupid? Try America.

0

This was the first time I picked up a copy of Cherwell after coming to Oxford from the US and was surprised to read, ‘How did Britain get so thick?’ [published 07/05/10]; surprised, because of the exact parallel with the US. Quite frankly, I had not expected it. In the US much has been written and discussed about ‘the dumbing down of America,’ but things have not improved over the years. In fact, it is the other way round. Incidentally, I am not talking about the top students who are the backbone of American academia and continue to dominate, especially in sciences, garnering Nobel prizes. No. The truth of the matter is: here we are – the great superpower of the world – and yet our 15-year olds are coming nearly at the bottom of the list in international competitions in science and maths among 30 nations.

How about this quote: “The mind of this country, taught to aim at low objects, eats upon itself?” That was by Ralph Waldo Emerson, the US essayist and philosopher, way back in 1837; how true even after all these years. Susan Jacoby of the Washington Post, who started with this Emerson quote, went on to say, “Americans are in serious intellectual trouble, in danger of losing our hard-won appeal to a virulent mix of anti-intellectualism, anti-rationalism and low expectations.” Replace ‘Americans’ with ‘British’ and, judging by what Cherwell has to say, you seem to have the same situation.

What is the utmost priority now in the US is the colour green:it is money. In one generation, the number of undergraduates reading English at universities has gone down from 30% to less than 16%, whereas the percentage of students majoring in business has gone up from 14 to 22%. On top of this, instead of making the syllabus more rigorous, it is being diluted.

Granted, new courses are being introduced with fancy names, but this masks the reality of their lack of scholarship, really giving a bad name to a true ‘liberal education’. Even Ivy league professors are nervous if they have to give poor grades to students because by doing so they fear they will not have many students taking such courses in the next semester. Among the culprit universities: Princeton, Harvard, Cornell, U. Penn. No Ivy League is exempt. 

It is also laughable that while Princeton is now giving fewer ‘A’s, the other Ivys have not followed Princeton’s example. Having said that, I also know from personal experience that in some top universities getting an ‘A’ means the student deserves it.

When I was a student in Britain, where I lived for many years, I saw professors going after the graduates who got a First or even a 2:1 to join their research group. So I got a rude awakening when, out of sheer curiosity, I googled, ‘The Dumbing Down of Britain’. Sure enough, there were many articles. One, by Peter Strudwick, said: “The traditional attributes and educational customs, incorporating so many undeniably valuable qualities, are loathed by modernists, who regard them as relics of the old world with no place in the new educational agenda. The modernist perception is that the acquisition of knowledge is not an absolute value in itself at all, but something which is inherently useful only when placed in a social context.”

This was after an Encyclopaedia Britannica survey which found that 7 million Britons are “functionally illiterate”.

I know many will protest what I am writing but, honestly, I am just sad at the state of affairs here, in Britain, and could never imagine this was the present situation. My hope is that the new British Government will take all this into account and implement policies which will turn the situation around.

Until then, the truth remains that we are all becoming Americans; taking their ‘bad’ and leaving out their ‘good’.

The Real Hurt Locker

0

I meet Hugh Pope for the first time when I am stuck in the lift leading to his sixth floor flat on Istanbul’s main drag, Istiklal Caddesi. I couldn’t read the sign that read in Turkish, ‘Danger: lift faulty’, and the lift stopped between the third and fourth floor. Through the chink of light between the floors I hear Pope say, ‘Ah yes. The lift doesn’t work. There is a sign…’

This isn’t an ideal start to an interview with a man for whom the ability to speak Turkish is an occupational prerequisite. Finally easing the lift doors open, we retreat to Pope’s local restaurant. First topic of conversation is the film ‘The Hurt Locker’. He wants to be clear that every scene in the film conveys a mesage that is entirely anti-Arab and neo-conservative.

Later Pope explains that if a degree in Arabic taught him anything, it was that he must never become an ‘Orientalist’. He was determined to discover ‘the real Middle East’ and so a month after leaving Wadham he set off to Damascus to become a writer.

He worked his way up from fixer to stringer to correspondent for the Independent, the BBC and the Los Angeles Times before settling at the Wall Street Journal. But Pope soon realised that not much of what he wrote about ‘the real Middle East’ would make the final edit; “About 20% of the story would normally be missing, because it was considered too discomforting for the American reader”. When referring to the 3 million Palestinians living outside of pre-1948 Palestine as “refugees, barred from return” he would be told to change this to “original refugees and their descendants”.

With each of these omissions or white lies, he writes in his new book, Dining with al Qaeda, “we laid another brick in the great wall of misconception that now separates America and the Middle East.” He characterizes this misconception as the tendency to view the Islamic world as a monolithic bloc. All this, he says, is one of the reasons that the US stumbled into the war in Iraq and is finding it so difficult to get out of Afghanistan. Pope belives that if the media had not given such a sanitized version of what America was doing in the Middle East, their foreign policy might have turned out differently.

I ask about the title of his book, an effort to compete with ‘Tea with Hezbollah’ or ‘Recipes from the Axis of Evil’ (both recently published titles), perhaps? Pope tells me that it’s meant to grab people’s attention, “but it does also specifically refer to the time I went for a Chinese meal in Riyadh with a missionary from one of al-Qaeda’s Afghanistan camps.” The missionary began by asking Pope why he shouldn’t kill him. “I persuaded him that my invitation into the country was legitimate and that it would be ‘un-Islamic’ to harm a guest, especially an innocent journalist just trying to present al-Qaeda’s side of the story.” The missionary calmed down and then began to tell Pope all sorts of secrets about the system of recruitment in al-Qaeda’s training camps.
But secrets they remained; Pope explains that “back at the office of the Wall Street Journal the story was tossed aside. Much too provocative.” He’s certainly tetchy about this issue and quickly moves back to our first topic, ‘The Hurt Locker’.

“Have you ever seen such an absurd load of militarist nonsense? It clashes with almost every aspect of my experiences of Iraq, war zones and American soldiers…Although it’s shot with no overt politics there is a clear agenda behind all those brilliantly filmed slow-mo pressure waves, sinister improvised explosive devices and the cocky gait of Sgt. James as he lopes into action in his bomb suit.”

He points out that one by one Iraqis are portrayed as cowardly, poor, inadequate, base, stupid, treacherous, and threatening. “The only half-positive character is a cheeky DVD-selling boy who pretty soon is killed off by a booby-trap planted in his stomach by his fellow Iraqis.”

In 2007 Pope decided to leave journalism behind; the situation in Iraq and the realisation that what he wrote wasn’t having any impact on American public opinion forced him to seek other outlets. He became director of the Turkish branch of the International Crisis Group. This position, he says, has given him more freedom to ‘bridge gaps’ than journalism ever could have done.
Pope is optimistic about the future; he believes that an upside of the Middle Eastern ‘brain-drain’ is that more and more Middle Easteners are now writing for American papers. This means that the grossly misinformed Western public are now increasingly exposed to hitherto hidden truths.

Hugh Pope’s new book ‘Dining with al-Qaeda’ (Published by Thomas Dunne Books) is now available. RRP: £18.99.

Hello yellow: United return to league

Sunday 16th May. Remember the date, it could be the start of a new era for Oxford United. The victorious U’s will once again be playing league football next season after a four-year absence thanks to a 3-1 defeat of York City at Wembley Stadium.

The result was enjoyed by over 35,000 Oxford fans who had made the short trip to North London; as the stadium announcer quite rightly said ‘will the last one out of Oxford please turn out the light?’. York on the other hand could only muster a paltry support of 8,000 for what was their second trip to the capital in 2 years following last year’s 2-0 defeat by Stevenage in the FA Trophy final.

The travelling band of northern fans had to endure the taunts of a yellow army, which outnumbered them almost 5 to 1 and were frequently subjected to a chant of ‘you should have come in a taxi’.

The game did not bring much respite for York either: opening exchanges aside it was a high-energy Oxford side who quickly took control, helped by an impressive performance from man of the match Adam Chapman. The U’s midfielder could have played his last game due to a charge of causing death by dangerous driving; he will be sentenced next month.

The deadlock was broken just after a quarter of an hour thanks to a quite exquisite turn and shot from Oxford forward Matt Green. A long ball from U’s keeper Ryan Clarke was won in the air by captain James Constable after York keeper Michael Ingham had rushed out to clear the danger. The unlikely knockdown was picked up by Jack Midson, he then lofted the ball to Green, who dispatched the ball into an empty net, albeit with a lot to do.
To their credit York responded well to the early setback and could have hit an instant reply, they were unlucky to see centre back Ryan McGurk flash a header wide from a corner. However, City were to be dealt a hammer blow just 5 minutes later. Oxford top scorer James Constable, dubbed ‘Beano’ by his adoring supporters, forced his way through a meagre defence to fire what was his 26th goal of the season past the despairing dive of keeper Ingham. It was little more than Oxford deserved for a sustained spell of pressure.

Just when U’s fans thought that the game was over, York were handed a lifeline. Five minutes before half time Oxford keeper Ryan Clarke inexplicably fumbled a quite tame looking cross into his own net giving York City the impetus going into the interval.

The second half started as the first had ended with York City having the majority of possession. In a desperate search for an equaliser, York threw on the much travelled ex-Portsmouth winger Courtney Pitt but he was to endure a similar fate to that of his former club, defeated by Chelsea in the FA Cup final a day earlier.
Oxford’s win was sealed in the final minutes. York, who had left themselves exposed at the back whilst searching for an equaliser, were caught cold when Alfie Potter and Sam Deering broke clear. A cleverly worked one-two left Potter with time to drill past Ingham into the bottom right hand corner sparking scenes of utter jubilation.
It was a sweet victory for Oxford boss Chris Wilder who had suffered the pain of playoff defeat with Halifax in 2006. He told reporters that the U’s needed to use this promotion as a ‘springboard’ and it will certainly be interesting to see how United’s march up the football league progresses in the coming seasons. The victorious U’s team was presented to their adoring faithful in a victory parade throughout Oxford the Tuesday after their glorious victory.

The streets were lined with fans dressed in yellow. The sheer number that turned out to celebrate was testament to the overwhelming support the U’s have received not only at Wembley but also during the season.

The summer months present a period of hard work for United who will be keen to be a force in League Two next season. They will need to keep hold of key players who will be sure to have caught the eye of watching managers.
One player sure to attract attention is hotshot striker Constable, with many league managers now willing to take a chance on a non-league striker. A return of 26 league goals will not have gone unnoticed.

One thing is for sure, whatever happens the U’s are backed by some of the best and most vocal fans in the country.

 

C-Pain Ffpitz

It’s revision season again, and every morning sees a procession of weary, bedraggled first and third years dejectedly dragging themselves to the library to be subjected to another eight hours of dreary book-gazing, enlivened only by the lunchtime Mission trip and the occasional chance to snap at an over-loud fresher daring to whisper something to his friend. You sit there, gazing out of the window at happy second years gambolling carefree on the lawns, and the temptation to aim a judicious hardback right at their heads becomes almost overwhelming.
But this year is different. This year we have FitFinder. Some of you will have read the reports on it, or even the video on the Cherwell website. A few of you will be on it. All of you will acknowledge its utter greatness. FitFinder truly makes revision fun. Oxford’s libraries, hitherto prisons of academic toil, are transformed into show grounds of aesthetic talent. So you’re sitting there, deep in the history of the Peloponnesian Wars, when up pops a message on your screen: ‘Female, Blonde hair. Always in the same chair, why don’t you see me stare, you wear a flower in your hair, please notice that I’m there.’ Naturally, you’re rather curious to find out who this mysterious fittie really is. So you swivel round and check all the desks around you and mentally cross-off all the men, the brunettes, and the non-flower-adorned, until finally you’ve got it down to a shortlist of three possibilities. You’re trying to work out which one it is, and you think, no, can’t be her, she’s a bit tubby, and that other one has a nasty mole on her face, she’s not fit, so it must be that one in the corner, the one with the cute dimple on her chin…and oh God, she’s seen me, quick, I’ll pretend I wasn’t looking. So then you start wondering who it was who noticed her and posted on the website, so you look around and yes, there’s a weird-looking guy a few rows away, and he’s staring at her too, looking very happy with himself, and, oh, why is his right hand under the table?
And then another one pops up on the screen, and you look around for her, and accidentally catch the eyes of a dozen guys doing the same thing at the exact same time, and you all look down at your desks in embarrassment. So you do some work, and after two minutes you’re bored again. Refresh the page, and, damn, ‘male, blond hair, historian wearing blue.’
‘Is that me?’ you wonder, before deciding that it probably is, even though you’re a chemist and your shirt is white.
So now you’re a bit excited, and you flatten down your hair and tuck in your shirt like your mother told you, and look around expectantly for the legions of girls staring deep into your eyes. Only to see to your disappointment that they’re all still ignoring you. So then you start to wonder which girl it was who posted it, and you cross off the ones without laptops, and the ones who are actually working. And then comes the awful realization that the only one left is mole-girl, who is gazing at you out of the corner of her eye with a come-hither expression on her face. Suddenly you’re not so keen on FitFinder after all.

Been there, don that

0

Sky’s Adam Boulton last week made a joke, comparing potential coalition leaders to the entity known as Jedward. The interviewee looked bewildered and the camera jiggled, unsure of where to turn to hide the blushes and silence. It goes to show that there’s something quite excruciating about the now mandatory asinine humour of television news.

Limp innuendo has become a defining trait of the BBC’s breakfast presenters, whose qualification consists in no more than being able to read out loud while gently titillating the middle aged.

The depressing truth is that, despite the younger demographic, lectures are much the same.

Most take place in a state of mild tension that makes the merest hint of jocularity spill over into nervous laughter. There’s apparently something inherently droll about enunciating ‘poo’ from a position of authority.
Staring at a camera and flirting with the co-host only at the behest of an autocue, the vacuous anchorperson can be relied on never to say anything that would excite the tabloids. But the lecturer, unencumbered by celebrity and drunk on the prospective thrill of the live performance, cannot. Once in a while you mistake your audience for a crowd, yourself for Frankie Boyle, and hazard a joke that goes beyond the relative comfort zone of innocuous, endearing swearwords.

Today it was my turn. I’ll even confess I’d thought of it beforehand and surreptitiously typed it into my notes, lest the heat of the moment spoiled the punchline.

Yes, it was risqué, a tad politically incorrect, even. But I’d have got away with it in a seminar; it was crying out for the bigger venue.

It fell agonisingly flat, in spite of an okay delivery. A few nervous stares cut through the more general indifference. Maybe they didn’t hear me right?
I spent the remainder of the hour wondering whether I hadn’t crossed the line from being the young, cool one who gets away with stuff, to the older one who, at best, elicits discomfort by conspicuously burping while he talks. I then returned to the office and found a pile of freshly shod hair nestled in my keyboard. Next week I’ll punish them with abject dryness. Or find a warm-up act to pave the way for oratorical gold.

What makes a classic: Amelie

0

‘One person can change your life forever’. Well, more precisely, one film. Le Fabuleux Destin D’Amélie Poulain is a masterpiece fusion of French aesthetics and gritty philosophy. Winning 51 film awards worldwide including 4 Césars along with 46 nominations – 4 of those Oscar nominations – Director Jean-Pierre Jeunet (A Very Long Engagement, Delicatessen) catapulted Amélie to overwhelming overnight and international success, creating what is arguably the best French film ever made.

The storyline is typically French in its subtlety and drawn-out pace. The film follows the main character Amélie Poulain (Audrey Tautou) over a period of her life as she desperately searches for some sort of meaning. Constantly looking for love, Amélie is caught up in her extraordinary imagination, her childish love of life and her burning desire to enrich the lives of those around her. The underpinning theme throughout is that of the interplay between humankind, the physical world around us and our curiosity of its little pleasures. Amélie is unparalleled escapism.

Jean-Pierre Jeunet is a self-taught director, self-evident in the untamed nature of his films. He immerses himself mainly in an invigorating combination of black comedy and fantasy. Jeunet took inspiration for the cinematography of this film from the Brazilian artist Juarez Machado whose colour palette consists mainly of deep greens, ruby reds and mustard yellows; Jeunet and head cameraman Bruno Delbonnel aimed to make each shot look painted instead of filmed. The colour scheme is used throughout the film to create warm and heady shots steeped in all-consuming eccentricism and cabaret.   

The musical score was composed by Yann Tiersen, a quirky composer found by Jeunet by accident as he was rifling through his friend’s CDs. Tiersen uses piano, accordion and violin as a base for his music then builds up on top of this with experimentations of weird and wonderful world instruments. The product is a thoroughly avant-garde piece of French folk with undertones reminiscent of Chopin, Satie, Philip Glass and Michael Nyman.  

And so, the fierce collaboration of Jeunet, Tautou and Tiersen in the making of Amélie creates true classic. The film has rightfully earned this status by its sheer charm and by its subtle complexity with regard to both its storyline and its cinematographic style. Evie Deavall