Amelie Poulain (Audrey Tautou) is a young woman who glides through the streets of Paris as quietly as a mouse. With wide eyes and a tiny grin, she sees the world in a magical light, discovering minor miracles every day. A shy and reserved person whose favorite moments are spent alone skimming stones into the water, Amelie was .. Read more
| Starring | Audrey Tautou, Mathieu Kassovitz, Yolande Moreau, Dominique Pinon |
|---|---|
| Director | Jean-Pierre Jeunet |
| Run time | 116 mins |
| Genres | Comedy, Romance, World Cinema |
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Jean-Pierre Jeunet, along with former collaborator Marc Caro, is better known as a purveyor of nightmarish excursions into the fantastic — Delicatessen, City of Lost Children, Alien: Resurrection. But this romantic comedy drama enchants and beguiles with a nostalgic optimism thanks to glorious visuals and ceaseless invention. Audrey Tautou is guaranteed iconic status as Amélie, the Montmartre waitress whose selfless joie de vivre leads her to improve the lives of her friends and neighbours. She only takes a break from her role of good fairy to pursue Mathieu Kassovitz, the handsome loner who collects rejected photo-booth snaps for his album of forgotten smiles. It has to be conceded that complaints of uncosmopolitan conservatism made against this film have some justification. But as a love letter to the City of Light — filmed at locations all around Paris yet retaining the stylised magic of a movie set — this is as deliciously romantic and ingeniously mischievous as cinema gets.
"...Mr. Jeunet's sense of humor gives the movie heart; his real affection for the medium can be seen in all the funny little curlicues and jottings around the action..."
I found this film to be be perfectly crafted in all respects.
The first thing that caught my eye was the stunning beauty of every frame. Each shot appeared to be perfectly 'manicured'. There was no 'dissonace', all images; people, background, objects lived in perfect harmony to the eye.
I loved the way that each character was drawn in purely existential terms. I.e.What they did to pass their time, their quirks and idiosyncracies. This made indentification with the characters all the stronger. Anal retention was a popular theme. (Both mother and father, the painter (only to the extent of his art) and the ardent lover in the cafe (tinged with jealousy).
I savoured the contrast of the outward hardiness of the young, physically strong Amelie with the physical brittleness of the Old painter. Conversely, the inner brittleness of Amelie, starved of affection and physical contact, with the hardiness and impermeability of the old painter's life-style. These two characters constituted the ballast of the work and between them provided the continuity in which the others existed.
I could go on, but I would urge all those who thought the ending too long to watch it again. This time, see how Jeunet interposes the final 'chase' with the 'pulling together' of earlier threads. When Amelie finally falls into the arms of her love, there is nothing left to say. If you think this is too long then you just haven't been watching carefully enough.
10 sur 10 Monsieur Jeunet!!
Quite simply one of the best films I have ever seen. Quirky, funny, sexy, dreamy, chic and charming.
A touch like Ally McBeal in the dream-world imagination sense but much better.
A poll to find the most popular foreign-language films of all time has put touching drama Cinema Paradiso at number one. The survey conducted by and reported in the Guardian puts the Italian/French movie - which was originally released in 1989 - at the top, being the story of a film director who revisits his hometown and reminisces about a girl he fell in love with as a young man. French romantic comedy Amelie followed in second place, starring The Da Vinci Code actress Audrey Tautou as the... Read more