Just Read and Find Out…..

Everyone has that one movie/picture/song that they turn to, an instant pick me up… If your in the market im going to seriously and death-glaringly tell you to visit these three:

The Fabulous Destiny of Amélie Poulain

I absolutely adore this film… Mostly because it’s a French film… and I love everything Parisian. The air, the colors, the food… everything there is so much more fantastical, and sensual.

“He dislikes catching scornful glances… at his sandals.” – Narrator

So the basis of this film:

Written by Jeunet with Guillaume Laurant, the film is a whimsical depiction of contemporary Parisian life, set in Montmartre. It tells the story of a shy waitress, played by Audrey Tautou, who decides to change the lives of those around her for the better, while struggling with her own isolation.

youcanseewhyilikeit

Amelie is young woman who had grown up isolated from other children. After the death of her mother and her father’s subsequent withdrawal, she developed an unusually active imagination to ward away the feelings of loneliness. Now at the age of twenty-three, Amélie is a waitress at Café des 2 Moulins, a small café in Montmartre that is staffed and frequented by a collection of eccentrics. Having spurned romantic relationships following a few disappointing efforts, she finds contentment in simple pleasures and letting her imagination roam free. On 31 August 1997, Amélie, shocked upon hearing the news of Princess Diana’s death on television, drops a bottle cap that knocks into a bathroom wall tile and loosens it. Behind the tile, she finds an old metal box of childhood memorabilia hidden by a boy who lived in her apartment decades earlier. Fascinated by this find, she resolves to track down the now adult man who placed it there and return it to him, making a promise to herself in the process: if she finds him and it makes him happy, she will devote her life to bringing happiness to others.

“It’s better to help people than garden gnomes.” – Amelie

Amélie meets her reclusive neighbour, Raymond Dufayel (Serge Merlin), a painter who continually repaints Luncheon of the Boating Party by Pierre-Auguste Renoir. He is known as ‘the Glass Man’ because of his brittle bone condition. With the help of him and others, she tracks down the former occupant and places the box in a phone booth, ringing the number as he passes to lure him there. Upon opening the box, the man, moved to tears, has an epiphany as long-forgotten childhood memories come flooding back. He then finds his way into the same bar as Amelie and vows to reconcile with his estranged family. On seeing the positive effect she had on him, she resolves from that moment on to do good in the lives of others.
Amélie becomes a secret matchmaker and guardian angel, executing complex but hidden schemes that impact the lives of those around her with subtle, arm’s-length manipulation, leading to several sub-plots and episodes. She escorts a blind man to the Metro station, giving him a rich description of the street scenes he passes. She persuades her father to follow his dream of touring the world by stealing his garden gnome and having a stewardess friend send pictures of it posing with landmarks from all over the world. She kindles a romance between a middle-aged co-worker and one of the customers in the bar. She convinces the unhappy concierge of her building that the husband who abandoned her had in fact sent her a final reconciliatory love letter just before his accidental death years before. She supports Lucien, a child-like young man who works for Mr. Collignon, the bullying neighbourhood greengrocer; by playing practical jokes on Collignon, whose confidence she undermines until he questions his own sanity.

“In this world, LPs are made like pancakes.” – Narrator

However, while she is looking after others, Mr. Dufayel is observing her, and begins a conversation with her about his painting when she comes to visit him one day. Although he has copied the same famous painting dozens of times, he has never quite captured the excluded look of the girl drinking a glass of water. They often discuss the meaning of this character, and although it is never explicitly stated, for Dufayel, she comes to represent Amélie and her lonely life. Through their discussions, Amélie is forced to examine her own life and her attraction to a quirky young man who strangely collects the discarded photographs from passport photo booths. When she accidentally bumps into him a second time and realizes she is smitten, she is fortunate to be on the scene to pick up his photo album when he drops it in the street. She discovers his name is Nino Quincampoix, and she plays a cat and mouse game with him around Paris before eventually anonymously returning his treasured album. However, after finally attempting to orchestrate a proper meeting, she is too shy to approach him, and almost loses hope when she misinterprets a conversation with one of the café’s patrons. It takes Raymond Dufayel’s insightful friendship to give her the courage to overcome her shyness and finally meet with Nino, resulting in a night spent together and the beginnings of a relationship.

Thanks Wiki… anyways, the movie is probably a lot more interesting than this sounds… but it makes me happy, and it always manages to give me a new perspective… its genius I say, pure genius!

And onto my go-to image, I found this picture close to four years ago… and i always keep it somewhere near by.

I used to think that, when I was a child, that people who have been through so much pain and hate in their lives seclude themselves, they turn into trees, their problems sprout roots. They allow themselves to become so disconnected from the outside world, and their hinderances finally overwhelm them… And soon they become apart of the habitat, they turn into nature, their inside mimics their outside… sort of like evolution… execept were all trees.. of course, i was younger. I used to also think faries lived in those trees and visited me during the day as butterfly’s….

Of course now that I’m an adult, the concept has change a bit.. I look at this and I name off everything that hurts, everything thats bringing so much shit into my life.. Realize how much I don’t want to become that, become so disconnected and hideous in my own deprivation… and i see that man, with his arms open to the sky.. begging for help… for redemption, for peace, for a new perspective … and I’m always granted one…..

Annnd finally, for my ‘I want my glossy eyes to glaze even more in thought’ music:

Now, I tend to categorize my thoughts… sort of like ‘the cloud’, if you must…

1. You have the romantic, dreamy, optimistic

2. You have the cynical, realistic, intuitive perception

And naturally, each category comes equipped with their specific songs.. you may or may not understand why/how these songs are relelvant, and I will not explain.

They simply are

So, for category one, Samuel Barber: Angus Dei, Adagio for Strings

1.

2. And for number two, Vivaldi: Stabat Mater, RV 621:I Dolorsa, Cujus animam, O quam tristis

A bit of light history:

Stabat Mater usually refers to the first, a 13th-century Catholic hymn to Mary, variously attributed to the Franciscan Jacopone da Todi and to Innocent III.
The title of the sorrowful hymn is an incipit of the first line, Stabat mater dolorosa (“The sorrowful mother stood”). The Dolorosa hymn, one of the most powerful and immediate of extant medieval poems, meditates on the suffering of Mary, Jesus Christ’s mother, during his crucifixion. It is sung at the liturgy on the memorial of Our Lady of Sorrows. The Dolorosa has been set to music by many composers, with the most famous settings being those by Palestrina, Pergolesi, Scarlatti, Vivaldi, Haydn, Rossini, and Dvořák.
The Dolorosa was well known by the end of the fourteenth century and Georgius Stella wrote of its use in 1388, while other historians note its use later in the same century. In Provence, about 1399, it was used during the nine days processions.
As a liturgical sequence, the Dolorosa was suppressed, along with hundreds of other sequences, by the Council of Trent, but restored to the missal by Pope Benedict XIII in 1727 for the Feast of the Seven Dolours of the Blessed Virgin Mary.

Lyrics:

At the Cross her station keeping,

stood the mournful Mother weeping,
close to her Son to the last.

Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.

Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

Is there one who would not weep,
whelmed in miseries so deep,
Christ’s dear Mother to behold?

Can the human heart refrain
from partaking in her pain,
in that Mother’s pain untold?

For the sins of His own nation,
She saw Jesus wracked with torment,
All with scourges rent:

She beheld her tender Child,
Saw Him hang in desolation,
Till His spirit forth He sent.

O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:

Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:

Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:

By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;

Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;

Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Christ, when Thou shalt call me hence,
by Thy Mother my defense,
by Thy Cross my victory;

While my body here decays,
may my soul Thy goodness praise,
Safe in Paradise with Thee.

If you dont feel anything from that, dig a grave because your already dead….

Love ALL,

Meghan

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