Amelie

This popular film takes the Traveling Angel story structure (which I talk about in detail in the Comedy course) and gives it a French twist.

In most Traveling Angel stories, the hero enters a community in trouble. The problems of a number of minor characters are detailed and then the traveling angel - who is perfect - proceeds to fix them.

Amelie, by contrast, begins with the traveling angel. Far from being perfect she has a strong psychological problem. Since childhood, she has withdrawn from life. She is afraid to take emotional risks. She is unable to love.

The early part of the film shows her helping the minor characters in the community. Because these characters are only loosely connected, this part of the film seems episodic and unfocused. The narrative drive flags.

About halfway through the writers attach a love story to the traveling angel story. Immediately the narrative line picks up steam. Notice also that this line is directly connected to the traveling angel's need. She must take a risk to love.

Unfortunately, because of so many other minor characters and the lateness of the love story line, the audience doesn't get an opportunity to get to know Amelie's future lover. So the payoff at the end when they get together is only mildly satisfying.

This film shows yet again how powerful and popular the Traveling Angel comedy is. But the real pleasures of Amelie are some nice scenes and playful camera work.

With a Friend Like Harry

Thrillers have always been one of the more contrived forms, but there are limits. Within the world the story creates, the logic must make basic sense.

This film has such a poor set up that I almost walked out. The hero meets a stranger in a bathroom on a superhighway. The stranger claims to be an old school acquanence, but the hero has no memory of him. Yet he invites the man and his girlfriend to their country house, then to stay overnight. Then he accepts a brand new car from the stranger. This is not just unbelievable, it's stupid, and there's nothing that angers an audience more than a stupid hero.

Throughout the movie there isn't a peep about motive from anyone. None of this bizarre behavior makes any sense.

The only explanation that has any weight is that the stranger is a figment of the hero's imagination. But notice that is a classic cop out. If the hero is crazy then anything is allowed and the story doesn't have to make sense. You just end up with a really pissed off audience that doesn't like to waste two hours watching lies.