I would guess that if you enjoyed "Amelie" &/or "Little Miss Sunshine" you'd enjoy this a whole lot too, for it contains similar elements to one or the other work when not both: in-depth studies of unusual characters and relationships,dark humour, great storyline, script, acting and music track and last but best, gorgeous visuals! Whatever film stock it was shot on produced rich, muted, luminous reds, which underscored a delightful conceit: that of the leitmotif red object (bag, padlock, hair-slide, whatever) in about 80% of the shots, right to the end, to the lipstick-red Mercedes.
But more than this, what blew me away was the result of the painstaking set-up of nearly every shot in terms of the particular palette of colours and textures used, rendering even the mundane (chain-link fence, weathered paintwork, urban roof-scape, building site)things of beauty. I have enjoyed many films for the other elements referred to in the first paragraph, but it is a long time since I was so seduced by a series of such delicious compositions (some almost iconic, like Paltrow's character in front of the green buses). In fact, it would have been "Valerie and Her Week of Wonders" (a Czech film from 1970) that last hit that particular spot. There are too many examples of these set-piece frames to list from the Tenenbaums, but I want a copy of the film, not only to enjoy again as a deeply satisfying tragi-comic drama,but as a visual reference work and as a feast for the eyes.
I've spent time rattling on about this aspect of the film, because no-one seems to have drawn attention to it and yet I think it adds immeasurably to the overall "feel" of the piece, but hey, maybe I'd had a couple of glasses of wine too many? (actually, probably more of a stoned thing, but then I don't do that any more - too risky!).
Many of the other reviews are right on the money in terms of synopsis and critique, so there's no point in my duplicating these, but there's my two-pennyworth in respect of an element that might sometimes be overlooked, in spite of it being right there in front of us!
But more than this, what blew me away was the result of the painstaking set-up of nearly every shot in terms of the particular palette of colours and textures used, rendering even the mundane (chain-link fence, weathered paintwork, urban roof-scape, building site)things of beauty. I have enjoyed many films for the other elements referred to in the first paragraph, but it is a long time since I was so seduced by a series of such delicious compositions (some almost iconic, like Paltrow's character in front of the green buses). In fact, it would have been "Valerie and Her Week of Wonders" (a Czech film from 1970) that last hit that particular spot. There are too many examples of these set-piece frames to list from the Tenenbaums, but I want a copy of the film, not only to enjoy again as a deeply satisfying tragi-comic drama,but as a visual reference work and as a feast for the eyes.
I've spent time rattling on about this aspect of the film, because no-one seems to have drawn attention to it and yet I think it adds immeasurably to the overall "feel" of the piece, but hey, maybe I'd had a couple of glasses of wine too many? (actually, probably more of a stoned thing, but then I don't do that any more - too risky!).
Many of the other reviews are right on the money in terms of synopsis and critique, so there's no point in my duplicating these, but there's my two-pennyworth in respect of an element that might sometimes be overlooked, in spite of it being right there in front of us!