Fifteen years after “Amélie” first charmed moviegoers around the world, the achievements of director Jean-Pierre Jeunet and writer Guillaume Laurant are still remarkable. A sumptuous modern love story, the film was filled with enough cross-city chasing and dramatic camera movements to make a viewer feel like they’d had a full exercise during the two-hour running time.
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
In contrast, “Amélie: A New Musical,” which saw its Los Angeles premiere last week, is a relative stroll through Paris that’s still colorful fun without quite the same degree of satisfaction. However, what this stage version lacks in drive, it supplants with a breezy, pared-down version of plot and atmosphere more in line with the tastes of a casual theatergoing American audience.
Craig Lucas’ book sticks fairly close to the film’s basic skeleton: Amélie Poulain, a comfortably single and romantic-at-heart café waitress, makes a fateful discovery in her apartment. Stumbling on...
- 12/22/2016
- by Steve Greene
- Indiewire
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