Amelie Film Review
By Willow Mitchell
Amelie, a sickingly charming cliché, a depiction of a romance, embellished with childish game play and the insignificant details of an average and equally insignificant life. Or a unique French film, so independent in its portrayal of love it has witnessed the emergence of an evolved romance genre, whilst receiving the cult following and prestigious status it deserves. Is Amelie worthy of being claimed ‘the most accomplished film of the year’? The answer to that question is undoubtedly a yes. Amelie is the best thing to venture across the channel since French bread!
Amelie depicts the tale of a colourful young girl so isolated from the world she becomes oblivious to reality and has no choice but to resort to a life within her head, enabling her to achieve a unique perspective of life and later aiding her chosen vocation. After the untimely yet faintly humorous death of her mother Amelie is left with her father, a doctor with an inability to make any physical connections, as a result when touched by her father Amelie’s heart races. Diagnosed with a heart condition Amelie lives a lonely and solitary childhood and is forced to appreciate the small things in life, allowing her as an adult to anonymously enlighten and consequently improve the lives of others. Amelie seeks pleasure in this pastime whilst ignoring her own life, that is until she discovers someone with a shared passion for the insignificant yet faintly beautiful. Her games spiral and the tale then becomes a search for love, with many twists along the way.
The success of Amelie is not surprising when considering the star status of the film. Directed by Jean-Pierre Jeunet, renowned for his uniquely bizarre and beautiful depictions, he creates a vibrant Parisian backdrop with charming attention to detail. He was the perfect choice to bring Amelie to life, as a well established director in the French film industry and with past accomplishments including the darker but equally quirky ‘Delicatessen’ and ‘City of lost children’. The casting was inspired, the lead role going to Audrey Tautou and other performances worthy of recognition including Mathieu Kassovtz- an extraordinary loner and recipient of Amelie’s affections, Serge Merlin –‘the glass man’ leading a life of solitude for fear of breaking a bone and Dominique Pinon - obsessive, impulsive and craving affection, who provide equally convincing portrayals of eccentric and fascinating odd balls. All living seemingly normal lives until closely examined, when the poignant reminder that every individual is uniquely ridiculous becomes glaringly obvious.
Amelie is a charming tale, a fantasy set firmly in reality. Whilst surpassing the greatest expectations of a romance it is refreshingly different, simultaneously conforming to and challenging conventions. The flourishing love is embellished with observations, fascinations and reflections that will keep any viewer hooked. Amelie is a touching, charming and thought provoking tale and there is no doubt that it is worthy of being titled not only ‘the most accomplished film of the year’ but also the ultimate feel good film, and unquestioningly deserved of the cult following and prestigious status the film has acquired.
