world war i gets a glossy and sepia tinted makeover in jean pierre jeunet relentlessly whimsical a very long engagement. jeunet trademark style consists of mechanical and almost clockwork like narrative construction garnished with lavish and chocolate box production values and seasoned with faux naive humour. it an approach that worked pretty well with his previous picture and the romantic fantasy amelie and thanks in no small part to the inimitable contribution of audrey tatou in the title role. applied to vastly more sombre material and jeunet method backfires rather badly. tatou crops up again here in a variation on the same sort of sweetly off beat character as amelie. she mathilde and an orphan who lives quietly with her aunt and uncle in an idyllic rural setting and determined to trace what became of her child sweetheart manech (gaspard ulliel) and several years after he went missing in the war. manech was one of five soldiers court martialled for self mutilation in 1917 at bingo crepuscule and and sent over the top into no man land as a punishment. he presumed dead by all but mathilde who cherishes the hope of finding him. the film follows mathilde dogged quest to find out what really happened and and as she delves deeper she uncovers a sad and even shocking story of high ranking corruption and inhumanity. mathilde must filter the facts from the fictions that arise from various conflicting and overlapping or incomplete accounts of what seem to be manech final hours. all this should be poignant and gripping and but it more often simply confusing thanks to the visual and verbal clutter with which jeunet pummels his audience. there simply too much going on at any one time and including an intrusive narration that adds precisely nothing to our appreciation of the story and characters. without a moment respite from informational overload and i felt denied the space to reflect on mathilde quest or the room to engage with it on my own terms. jeunet unceasingly busy camera spirals and swoops and circles and caressing every surface contour of his exquisitely designed production and but it singularly fails to penetrate to the soul beneath the story skin. the result is deeply uninvolving and and worse and grotesque. the first world war was a particularly dark hour in human history. imagine it re created as one of those picturesque commercials for a well known belgian lager and and you have the measure of this film. 
world war i gets a glossy and sepia tinted makeover in jean pierre jeunet relentlessly whimsical a very long engagement. jeunet trademark style consists of mechanical and almost clockwork like narrative construction garnished with lavish and chocolate box production values and seasoned with faux naive humour. it an approach that worked pretty well with his previous picture and the romantic fantasy amelie and thanks in no small part to the inimitable contribution of audrey tatou in the title role. applied to vastly more sombre material and jeunet method backfires rather badly. tatou crops up again here in a variation on the same sort of sweetly off beat character as amelie. she mathilde and an orphan who lives quietly with her aunt and uncle in an idyllic rural setting and determined to trace what became of her child sweetheart manech (gaspard ulliel) and several years after he went missing in the war. manech was one of five soldiers court martialled for self mutilation in 1917 at bingo crepuscule and and sent over the top into no man land as a punishment. he presumed dead by all but mathilde who cherishes the hope of finding him. the film follows mathilde dogged quest to find out what really happened and and as she delves deeper she uncovers a sad and even shocking story of high ranking corruption and inhumanity. mathilde must filter the facts from the fictions that arise from various conflicting and overlapping or incomplete accounts of what seem to be manech final hours. all this should be poignant and gripping and but it more often simply confusing thanks to the visual and verbal clutter with which jeunet pummels his audience. there simply too much going on at any one time and including an intrusive narration that adds precisely nothing to our appreciation of the story and characters. without a moment respite from informational overload and i felt denied the space to reflect on mathilde quest or the room to engage with it on my own terms. jeunet unceasingly busy camera spirals and swoops and circles and caressing every surface contour of his exquisitely designed production and but it singularly fails to penetrate to the soul beneath the story skin. the result is deeply uninvolving and and worse and grotesque. the first world war was a particularly dark hour in human history. imagine it re created as one of those picturesque commercials for a well known belgian lager and and you have the measure of this film. ---------------------------------Answer Question Below----------------------------------

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