Eva: These are hard times for dreamers.
Such a magical film. I honestly believe that if you don’t love Amelie, then you have no soul. Not only was this the first French film I saw in theaters, I believe it was also my introduction to French film in general. (And it was love at first sight, I’ve been a devout Francophile ever since… French horror is particularly good right now.) It was not, however, my introduction to Jean-Pierre Jeunet, that would be 1997’s Alien Resurrection, which I’m pretty sure doesn’t technically count as a French film.
The story of a shy young naif deciding to become a “regular do-gooder,” helping those around her, at the same time, Amélie is so much more than that. Exceedingly eccentric, full of quirky characters and amazing visuals. It’s just a beautiful film about finding happiness in the little pleasures of life. Visuals are obviously of the utmost importance to Jeunet; accordingly, Bruno Delbonnel‘s cinematography is gorgeous. The score is moving in-and-of itself, more-so when combined with the film’s visuals.
Not only did Amélie introduce the world to Jean-Pierre Jeunet and his wonderfully surreal French whimsy, it also introduced us to the amazingly amiable Audrey Tatou. As the delightfully impish Amélie Poulain, Tatou won a place in film audiences’ hearts the world over, garnering international acclaim.
It’s just such a lovely film, as though Jeunet and co. were able to synthesize pure joie de vivre directly into film. I love it.