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Le fabuleux destin d'Amélie Poulain
Germany, France
Fantasy, Romance, Comedy
IMDB rating:
Jean-Pierre Jeunet
Audrey Tautou as Amélie Poulain
Mathieu Kassovitz as Nino Quincampoix
Rufus as Raphaël Poulain
Lorella Cravotta as Amandine Poulain
Serge Merlin as Raymond Dufayel
Jamel Debbouze as Lucien
Claire Maurier as Madame Suzanne - la patronne du café
Isabelle Nanty as Georgette
Dominique Pinon as Joseph
Artus de Penguern as Hipolito
Yolande Moreau as Madeleine Wallace
Urbain Cancelier as Collignon
Maurice Bénichou as Dominique Bretodeau
Storyline: Amélie is a story about a girl named Amélie whose childhood was suppressed by her Father's mistaken concerns of a heart defect. With these concerns Amélie gets hardly any real life contact with other people. This leads Amélie to resort to her own fantastical world and dreams of love and beauty. She later on becomes a young woman and moves to the central part of Paris as a waitress. After finding a lost treasure belonging to the former occupant of her apartment, she decides to return it to him. After seeing his reaction and his new found perspective - she decides to devote her life to the people around her. Such as, her father who is obsessed with his garden-gnome, a failed writer, a hypochondriac, a man who stalks his ex girlfriends, the "ghost", a suppressed young soul, the love of her life and a man whose bones are as brittle as glass. But after consuming herself with these escapades - she finds out that she is disregarding her own life and damaging her quest for love. Amélie then ...
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Good, but not all that.
I know I really may sound like a party-pooper but I just didn't find this film all that great. However, the lighting is gorgeous and the guy should have definitely got an Oscar for that. Audrey Tautou as Amelie is perfect (her talent was already perceivable in "Venus Beaute (Institut)" despite her small part in the movie), and Jeunet's touch is there - maybe a bit too much actually, given how reminiscent it is of his cinematography on the City Of Lost Children (not to say identical).

There are also numerous cultural references for which I'm dying to see how they were translated into other languages, and the surprising presence of comedians who are well-known to the French audience to add to the fun (Yolande Moreau, Jamel Debbouze, Ticky Holgado, ...).

On the commented version of the DVD (at least the French pressing), Jean-Pierre Jeunet makes references to Frank Capra (the scene in the bar between Amelie and Nino), Wim Wenders (the man and the box in the phone booth) and Sergio Leone (the shot of Amelie in the train station) - the problem is that the same kind of scenes shot by these directors have an intensity that is light-years away from what I felt watching "Amelie Poulain". The commentary is actually concluded by the filmmaker stating that he couldn't care less for the anachronisms in the film.

Overall, you get an arty comedy directed to mass audiences with a very thin plot that everyone can understand without thinking too hard, and a good cast performing below their usual abilities. The whole wrapped up in a fairytailish package that, even if it is cute and without much pretense, still keeps me wondering if it is uplifting enough to come out of the movie theater with a big smile on your face, and the will to change the world like so many people seem to experience after watching this film.
Amelie innocently skips stones in the canal and you realize that this deserves all the hype
Waiting for `Amelie' to begin in a theater fraught with noisy college students drinking cheap beer, I wasn't expecting anything more than an over-hyped flick from our friends in France. I slowly began to realize as I watched Amelie skip stones in the canal that for the very first time, a film deserved all of hype it had been accorded and more, and I felt so blessed to be a part of this revelation.

Possible Spoilers

It's hard to put into words how much I loved `Amelie.' I felt as though I were sitting next to Monet, watching as he effortlessly splashed brilliant watercolors across his canvas. I had this strange but fantastic feeling of being inside the mind of Amelie, seeing everything in the vibrant colors she viewed life with, and wanting to remain there much longer than the two hours allotted. It was just so refreshing to watch a movie where your imagination was free to soar rather than feel confused by the apparent deja vu from last year's first installment of the same pointless drivel.

I almost always loathe films with subtitles as I feel that they get in the way of viewing the characters actions and facial expressions. `Amelie' is the first film where I adored the subtitles and in fact, had a nagging urge to go out and learn French that is still with me today. Much of this can be attributed to the delightful Audrey Tatou. Her expressive eyes and sweet caring nature provided the viewer with fond memories of Audrey Hepburn and prevented me from being distracted by the subtitles. Could a 23 year old actress with little experience be just as fantastic as Meryl Streep and Katharine Hepburn? I really wasn't expecting it but Audrey Tatou revitalized my interest in film and left me wondering why her name didn't appear on Academy ballots and what possessed the Academy to favor `No Man's Land.'

An already perfect film couldn't get much better but along with the lovingly created cinematography and delight of rising star Tatou came the wonderful story of a true do-gooder. `Amelie' is a film that begs you to get happy and should give some short-term contentment to even the most depressed of individuals. Little moments like the tragically funny early years of Amelie are very special and the best I've seen on the silver screen. The scene where Amelie is skipping stones in the canal should be studied for years to come as the greatest technical moment in cinema.

Movies like this one don't come around very often. Perhaps the creators of films that pander to dumbed-down audiences who apparently can't tell that their watching last year's film should take the hint. The movie-going public wants to be inspired and wants to be provided with the same imagination they have when reading a great novel. This is why `Amelie' remains #18 on the list of best films.

Encore, Jean - Pierre!
This is essentially a conventional love story told in an unconventional way. Jeunet is a uniquely talented film maker, and it is nice to see him venture so successfully into the mainstream, especially since his previous two productions, "Alien 4" and "Cité des enfants perdus" were interesting but overall unconvincing. I recommend "Le fabuleux destin d'Amélie Poulain" to a wide audience and wish it success. Still, the movie that I would take with me to desert island would be Jeunet's other great success, "Delicatessen".
Beautiful, but empty
I can't agree that this is the "most charming movie ever made," but it is one of the most beautiful. If you watch it, pay attention to the photography. Nearly every frame is a watercolor painting come to life, even the most mundane scenes.

Take, for instance, the snippet where Amelie encounters the man playing the record player in the subway. Look at the colors, and how even the buttons on the man's coat echoes the peas in the painting behind him. Look, too, at the colors in the concierge's apartment and in the park -- everywhere! It is a feast for the eyes!

The colors and compositions are astounding, which is a good thing because I found the characters and plot somewhat empty. It's all very cute and all, with Amelie going around trying to "fix" up people's lives, but it drags on way too long and ultimately ends on a rather meaningless note.

It's more than mere eye candy -- but less than a truly fulfilling film.
Let me start off by saying this movie could possibly have a completely different effect on people whose main language is English, compared to somebody who can comprehend the French language fluently.

For me, not knowing any French, there is something beautiful about the language, the accents, the words which you pick up on because you like the sound of yet you don't know quite what they mean, that makes this movie special. It's not just because the words are French, it's how they are spoken in this movie. They are spoken by most of the important characters in such a mesmerising and subtle manner that really entices and intrigues you. This alone will make the movie very watchable even if you can't bear subtitles.

Audrey Tautou is adorable in this movie, so sweet and charming that you just can't help but think "I wish more people like her were out there." To me, there is no significant plot in this movie; it doesn't feel like the creators of this movie were intending to write a plot at all. Instead, it feels as if they are trying to get a strong message across which is portrayed through Amelie and her innocence (or non-innocence?). This message is one of real morals, the feeling and power of true love and the beauty of the simple things in life.

Personally I am not a huge fan of romantic films. I certainly don't go out of my way to watch very many of them, usually because they appear to me as cliché and over-exaggerated. Ignorantly, I thought this was going to be similar. I could not have been more wrong. This movie portrays true romance in a way you haven't seen before.

Why? It's simple: because each romance that exists in this world is unique to the person experiencing it. You cannot generalise, because only that individual knows what they feel like... unless they meet their soul-mate. The oddness of Amelie's way of thinking and her road to finding her soul-mate is what makes you feel 'warm' when the credits start to roll.

To sum this masterpiece up: An often humorous, eccentric and delicate story about a girl who is 'different'.
Audrey Tautou is magical
Amelie is a film that struck a certain chord with me. Every now and then movies come along that speak out to you and emotionally touch you in some way. Amelie is one such film for me. I related to its innocent charm and delightfully shy protagonist played by French sensation Audrey Tautou, the way very few films have. Part of the reason we watch movies is to learn something about ourselves or recognize characters that are remarkably similar to us and the way we are in real life. For all of us shy, introverted, quirky, and odd-ball eccentrics out there who have trouble relating to "normal" people, Audrey Tautou in this film is our personal hero. Instead of going into much detail about why the film works, I'll instead try to explain what it meant to me personally. Sure I guess this means I have to open up maybe more than I'd like to about myself, but oh well. The way Amelie's childhood was presented is similar to my own. I am an only child to divorced parents and very rarely had friends as I was and still am very much a loner. As a child much of my time was spent alone so I entertained myself in all kinds of silly ways. Just like Amelie does in the film. Of course I gained my fixation with films at an extremely early age, but also did stupid things like give my stuffed animals personalities and have conversations with them, draw pictures and create stories to go along with them, and laid in bed listening to the radio with the windows open on a lazy summer day imagining creatures out of the cloud formations. Apparently there are legions of us out there. Even today I enjoy solitude far more than the company of most people and still use my imagination to think of stupid little things. Amelie did an amazing job in capturing what the world is like through the eyes of a person who doesn't really fit in, but finds joy in the simple things in life. Like the fresh spring breeze on your face, the sound of the rain, the chirping of birds, the touch of fur, and popping bubble wrap. Actually popping bubble wrap was always an exciting and rare treat during my youth. Jean-Pierre Jeunet's film also has a marvelously fun nifty view of sex. For Amelie sex is not something that is intimidating, temptingly desirable, sinful, adult, or lustful. It's just another of the many silly things that people do in this world that make us human. Two people taking off their cloths and rubbing up against one another. How sweet! In fact many people have insulted the film for it's unique view and open attitude towards sex. For shame really. Sure there's a lot of it actually. Amelie's first sexual encounter, the orgasms, the object of her affection working in a porn shop with a stripper and putting price tags on didoes. But it's all in good fun and filmed with the naivety that a character like Amelie would view sex as. Anyways the movie really works. Cinematographer Bruno Delbonnel does an excellent job in filming Jeunet's crazy vision and Audrey Tautou with her funky hairdo, wide brown eyes, and whimsical voice and kitten like mannerisms and shyness brings the movie to life. As I said I relate to this movie and understand the character the way I do with few other movies simply because it is frighteningly very much like I tend to be in real life.

"You mean she would rather imagine herself relating to an absent person than build relationships with those around her?"

Hmm, so would I sometimes. Audrey Tautou's been a more reliable friend than most people and has put a smile on my face and lightened my day at the thought of her more times than one. And I still say I'll marry her one day.
One of the Sweetest and Most Original Movies of Cinema History
In 1974, in Enghien in the northern suburbs of Paris, the girl Amélie Poulain was born and raised alone by her cold hearted father and her stressed mother due to a mistake of her father's evaluation of her heart conditions. Her mother dies in a weird accident and when the shy and daydreamer Amélie Poulain (Audrey Tautou) becomes a young woman, she moves to central Paris and works as waitress in the café Deux Moulins in Montmartre. On 30 August 1997, Amélie finds a child treasure hidden behind the wall that belonged to a dweller from the 50's, and she decides to anonymously return it to the owner. He seeks out the man and when she witnesses his happiness, she decides to become the "godmother of the rejected", anonymously helping people that are her acquaintances using her fantasy and little tricks. She convinces her father to travel abroad using his garden gnome; she helps her neighbor that is an outcast and lonely painter and the super that misses her unfaithful husband; she also helps her hypochondriac colleague that works in the tobacco shop and the man that stalks the other waitress acting like cupid; she plays pranks to an employer that mistreats his employee with abusive relationship. When Amélie finds the album of photos of an intriguing collector that collects rejected photos in the Photomaton of the Gare de l'Est, she seeks him out and falls in love with him. On 28 September 1997, Amélie Poulain finds love.

"Le Fabuleux Destin d'Amélie Poulain" is certainly one of the sweetest and most original movies of cinema history. The surrealistic screenplay is stunning and it is impossible not falling in love for the character performed by the expressive Audrey Tautou. The direction and the acting are top-notch, supported by awesome camera work and the cinematography, excellent edition and magnificent soundtrack. This is a delightful romance even when you watch it for the second time, My vote is nine.

Title (Brazil): "O Fabuloso Destino de Amelie Poulain" ("The Fabulous Destiny of Amélie Poulain")
Amelie: 7/10
If you've ever done something good for someone else just for the fun of it, then you can easily relate to Amèlie, the main character in Amèlie. She's innocent, naïve, and shy. But she finds an old box of `treasures' hidden in her flat and decides to return it to the boy who left it there fifty years ago. The `boy' is Bretodeau (Maurice Bénichou), and Amèlie (Audrey Tautou) decides that if Bretodeau is glad, then she will continue to do good deeds for those around her. He is ecstatic, so Amèlie keeps her end of the deal.

Amèlie is sweetly touching, but goes for the low-key effect and really does feel like a foreign film. A lot of times, I forget during the course and it seems like the actors are saying the subtitled English words. Not this time. I'm thinking of Run Lola Run in specific. That seemed to be a quality American film (haha, right?).

Amèlie decides to return a photo album to Nino (Mathieu Kassovitz). She completes her deed but ends up falling in love (surprise surprise). When Amèlie was delivering the album to Nino (and other times), I was surprised on how complex her schemes were. She didn't explode with talent like that throughout the film, so it surprised me.

Tautou is very good as Amèlie, I love her smile. She displayed emotions very well. Kassovitz was also fabulous; people like that need to get more work that comes out here in the U.S. Everyone else involved in the picture is very gifted (including Rufus, who plays Amèlie's father) and talented. Pictures like this don't come out very often.

Movies like Amèlie are sure to be crowd-pleasers. Which it is. Its crowd-pleasing attitude was taken with a little arrogance, but it still managed to keep a goofy smile on your face for 122 minutes. Speaking of the runtime, I found it very hard to sit through, for some reason. I enjoyed all of it, but seemed unnecessary. If one of the subplots about Amèlie's escapades were taken out, it would have been better.

It also had a good amount of humor. I loved the beginning, when we learn about Amèlie's childhood, and we learn what everyone's likes and dislikes were. It seemed ridiculous yet true. Some of the humor, and the whole movie, faltered during the last hour-the rather quick pace of the first hour slowed down a lot and brought down my experience of the film.

Amèlie is a gentle yet entertaining non-Hollywood film that's a sure crowd-pleaser.

My rating: 7/10

Rated R for sexual situations.
A smug-faced Parisian pixie with a tenuous grasp of reality decides she is going to influence other people's lives whether they like it or not. Amelie has got to be one of the most annoying characters in recent cinema. She is mousy, meddlesome, mean, and manipulative - and these characteristics are supposed to make her lovable. The film operates under the concept that quirky equals charming. The narration is supposed to be cute and funny, but is grating instead. The plot rambles on pointlessly. The director repeatedly uses zooms and weird sound effects to convey some sort of whimsical film-making but manages to simply be distracting. It's unbelievable that this won an Oscar.
The Fabuleux Watching of Amelie!
If any friend of mine ever asked me to recommend a film as an introduction to world, or 'foreign' cinema, I always went for this glorious Gallic romantic fantasy.

Not only is the storytelling intelligent and engaging, the artistic design is crammed full of fascinating detail, brilliantly stylised in bold colours and full of directorial flourishes.

To my mind, Audrey Tautou is absolutely perfect, not just as her cheeky impish match-making and good Samaritan but as also as an advert for a modern Femme du Paris. The whole project might as well have been co- produced by Tourism France as it covers what us foreigners feel we think Paris IS but in a modernised and fresh way. Nothing overtly quaint but still employing the best bits of what makes France individual, elegant and great.

Re-watching the DVD after some seven years I found the whole escapade still refreshing, uplifting but not in a sugar-coated way and dazzling in its effects, which I'm sure were pioneering back almost ten years ago, when it was made. The final freedom-on-a-moped escapade is absolutely and wonderfully youthful and brilliantly done.

What, though I feel is one of the film's strongest points is how every age group is not only represented but championed and integrated and that every character has enough 'stuff' so that not only do we care for each of them but also the whole community in which they live and thrive, as a whole. That is a major achievement. That 'Amelie' is still in IMDb's top 50, as voted by us, must make it a classic.
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