Title: Le Fabuleux Destin d’Amélie Poulain
Release Date: 25 April 2001
Director: Jean-Pierre Jeunet
Claudie Ossard Productions | UGC | Victoires Productions | Tapioca Films | France 3 Cinéma | MMC Independent | Sofica Sofinergie 5 | Filmstiftung | Canal+ | France 3 Cinéma
Life’s funny. To a kid, time always drags. Suddenly you’re fifty. All that’s left of your childhood… fits in a rusty little box
French director Jean-Pierre Jeunet specializes in making films set in fantastical worlds. In Amélie, he makes a fantastic world out of contemporary Paris, a world of wonders created in the mind of its protagonist Amélie Poulain (Audrey Tatou in the role that made her a worldwide superstar). Amélie is shy young woman who works as a waitress at a cafe and finds pleasure in the simple joys of everyday life. When she finds a box of a child’s treasures hidden in her apartment she surreptitiously returns it to the now middle-aged man who hid it decades before.
Seeing the joy that the box brings to the man, Amélie dedicates herself to anonymously performing acts of kindness for others. She also begins to pursue a shy young man, Nino (Mathieu Kassovitz), whom she observes collecting discarded pictures from photo booths. While Amelie is full of sweetness and charm compared to darkness of Jeunet’s earlier films with Marc Caro, Delicatessen and The City of Lost Children, some of the things Amélie does would be really creepy in real life. Nevertheless, Tatou’s performance is brilliant and is one of the best examples of an introvert as protagonist that I’ve ever seen in a film.
In addition to Tatou there are some great performances by an ensemble cast that includes Rufus as Amélie’s father, Serge Merlin as The Glass Man, a wise older neighbor with brittle bone syndrome, and Jeunet film regular Dominique Pinon as a stalker-ish cafe patron who Amélie sets up with the hypochondriac tobacco counter clerk played by Isabelle Nanty. André Dussollier narrates the film with a documentary-style gravitas that contrasts wonderfully with the magical realism of the movie. Amélie is only my third favorite Jeunet film after The City of Lost Children and Delicatessen, but dang is if it isn’t a fantastic bronze medalist.