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So the Paris of Amélie might be a fantasy, but it's a beautiful one all the same one that invites viewers to pause amid the hustle and bustle of our everyday lives to find moments of quiet magic. Hundreds of fans – including myself – turned out to watch the film under the stars, in a setting that felt as romantic as the story itself. In July of this year, Amélie finally did play at Cannes, in a special anniversary screening on the beach. In an amusing twist, Amélie was rejected when it was submitted to the Cannes Film Festival, with Jeunet reporting that programmer Gilles Jacob called the film "uninteresting". My sartorial success was minimal, but I fully credit Amélie with introducing me to French cinema, as it did countless others. I visited it myself as a teenager obsessed with the film, aiming to emulate Audrey Tautou's chic appearance with my floral blouses and blunt-cut fringe. Café des 2 Moulins, at the intersection of Rue Lepic and Rue Cauchois in Montmartre, became a popular destination for tourists and fans of the film, with locals capitalising on the new-found attention. Writing for LA Weekly, Manohla Dargis called the film "a frenetic bore that insists on its audience's adoration while making no demands upon their intelligence", while Phil Hoad's anniversary piece for The Guardian in 2011 stated: "I still find Audrey Tautou's boulevard busybody simpering to the point of psychosis." But Amélie would likely not take their words to heart – or perhaps cause a little light carnage by way of revenge, as she does upon the bullying greengrocer who harangues his meek assistant.Ĭertainly the film had a marked impact upon the neighbourhood in which it is set. Of course, there are those who haven't fallen for Amélie's charms.
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It's a movie that will make me cry based on kindness as opposed to sadness," he told the New York Times. Amélie just happens to be Fuller's favourite film: "All the things I love are represented in that movie. US network ABC was looking for a programme with a similar sense of whimsy and sparkle, and Fuller delivered an offbeat romance about a baker with the power to bring dead people back to life.
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The US TV writer and producer Bryan Fuller's 2007 show Pushing Daisies was inspired directly by Amélie. It feels even more poignant in light of the global pandemic, which has forced people inside their homes for over a year, keeping families and friends apart and robbing so many of the joy of human connection.
This recognisable sense of isolation will be familiar to anyone who has spent time living in a city, surrounded by people yet unable to forge relationships. Yet when home alone in her apartment, Amélie's world seems quieter her loneliness more apparent. While the world is often a harsh place, Jeunet and his creative team dare to imagine a kinder, gentler reality, where the dreamers and artists of the world aren't yet jaded by external forces. This is not Paris in reality this is the city of dreamers, a heightened reality in which the potential for magic lingers down every boulevard and in every metro station. This feeling of romance and everyday magic is underscored by the instrumental compositions of Yann Tiersen, which Jeunet employs to great effect to highlight Amélie's capricious moods. Shots of the city resemble the French capital as seen on postcards, while the unmistakable rich reds and yellows of the film's colour palette were heightened in post-production to reflect Amélie's joie de vivre. We follow Amélie on her adventures around Paris with pleasure Bruno Delbonnel's vivid cinematography presents the city as beautiful but unmistakably lively, a fairground ride in constant motion. Just what is it that makes Amélie – or to give the film its proper title, The Fabulous Destiny of Amélie Poulain – so fabulous, after all this time?
It's no wonder that the film captured the hearts of audiences upon release, but two decades later its rich legacy continues, having inspired a musical, and even the name of a newly-discovered species of frog.
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Jeunet’s unconventional romantic comedy sees Amélie – played wonderfully by Audrey Tautou – encounter a series of fellow oddballs, and provides glimpses into the curious lives of others while celebrating the unique charm of France's capital city. Yet she often feels isolated, and having had a lonely childhood, seeks out connection with those around her. Amélie Poulain, the title character of Jean-Pierre Jeunet's fourth feature film, is a waitress with a big imagination, who finds herself drawn to simple pleasures in life, such as taking in a film on a Friday night or cracking the surface of a crème brûlée with a spoon. Twenty years ago, a petite heroine from the Montmartre district of Paris took the world by storm.
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