Welcome to
the first part of my new series: food in art and literature. I'd like
to start with "Amélie" – my favourite film about love,
loneliness and, of course, food.
I'm sure you all remember the famous food scenes, such as Amélie's delight in cracking crème
brûlée or the way she ate raspberries off her fingertips. Actually, the topic is so vast that one could write a whole book about food and drink in this film.
But this time I've decided to focus only on how food
helps the characters (especially the nice ones) connect with others,
proving that Julia Child was right – "People who love to eat are
always the best people".
Eating in
France is a form of a social ritual. Friends and families gather
around the table, munching at French delicacies, sipping wine and
enjoying each other's company for hours on end. This social function
is visible in the film in the café where Amélie works as a
waitress. In Des 2 Moulins café on Montmartre in Paris, patrons
drink kir (white wine with crème de cassis, or blackcurrant liqueur)
and mauresque (anise–flavored liqueur called pastis mixed with
almond syrup) and have long discussions about love, life, and latest
gossip.
In stark
contrast to this lively place, there is a melancholic scene of Amélie
cooking pasta only for herself. She looks out of the window and
notices her neighbour, 'The Glass Man', who also has dinner in
absolute solitude. Fortunately, after a while the two become friends
and spend time together eating speculoos (Dutch ginger biscuits)
dipped in mulled wine. (By the way, it seems to be a peculiar choice
of snacks for a hot summer, don't you think? ;))
The Glass
Man also connects people over a meal in another, more metaphorical way –
each year he paints a copy of Renoir's “Luncheon of the Boating
Party” and every time he paints different dishes on the table.
“They look quite happy there”, says Amélie. “They should be”,
he replies. “This year they had hare with morels. And waffles with
jam for the children”. :)
Luncheon of
the Boating Party, Renoir, 1880-1881, source: wikipedia
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Love for
food also helps some of the characters win over new friends,
especially in the case of a mentally challenged Lucien. Working for
the greengrocer, Lucien treats every fruit and vegetable like a
precious treasure that should be handled with respect and gentleness.
Amélie, who herself appreciates small pleasures, such as plunging
her hand deep into a sack of grain, understands his childlike need to
take delight in everyday life. That's why there's a thread of
understanding between these two characters, both of whom dislike
Lucien's surly, philistine boss, Mr. Collignon.
Similar joie
de vivre (and joie de manger) characterizes Dominique Bretodeau, a
man who used to live in the same house as Amélie. Every week Bretodeau
buys a fresh chicken at the market, roasts it and savours the most
delicate pieces of meat. However since the split with his daughter
many years ago, this weekly ritual serves as a painful reminder of
his loneliness. But thanks to Amélie's intervention, he decides to
reconcile with his daughter and towards the end of the film we can
see a heart-warming family reunion: Dominique carves a roasted chicken but
this time he doesn't eat the best morsels himself – he gives them to his
little grandson. Once again food becomes a means of showing love and
affection.
And the most moving scene in the whole film is the baking scene. At the end of
the film, Amélie makes her famous plum cake (identified by some bloggers as kouign-amann), fantasizing that she
prepares it for her sweetheart, Nino. When she notices that she's run
out of yeast, she imagines Nino running to the shop downstairs,
buying yeast and quietly coming back home to surprise her. When she
realizes that it is a cat, not Nino, who has actually entered the
kitchen, she bursts into tears. However in some magical way the cake
baking really brings Nino to Amélie's apartment and the whole story
has a happy ending. I only wonder if Amélie and Nino have finally
managed to bake and eat the plum cake? ;)
Amélie
(French: Le fabuleux destin d'Amélie Poulain), directed by
Jean–Pierre Jeunet, France 2001.
PS. Tomorrow
I will post a review of a French restaurant Zakładka, whose interior seems to be inspired by "Amélie". :)