I've heard the arguments against Amelie: that it's aggressively whimsical (do we hold that against Lubitsch?), that it has a lilywhite image of France (do we hold that against Tati?), and more. And while it doesn't match the masters listed above, every time I see Amelie it carries me away. So don't hate it for being "foreign cinema-lite". Just tell its lovers about Stolen Kisses, Mon Oncle, and Story of a Cheat.
I came into watching this film expecting a high quality but ultimately cartoonish 'light watch'. Amelie is so much more: sure it's whimsical, fantastical and often quite goofy but it's also a surprisingly dark watch. It doesn't stray from the misfortunes of life, the alienation of individual quirks and the longing for another like you but celebrates these things. Truly a sweet surreal absurdist vision like no other.
A gush to cause conjecture, but to quote Icona Pop, "I don't care, I love it". Renoir, Godard, Truffaut, Vigo, Bunuel, Kieslowski, Clouzot, Tati, Resnais, Kassovitz, Audiard, - all of whom get criminally ignored, but Amelie's success doesn't negate its beauty. Jeunet created a love letter to marginal lives and Paris that stands true, dealing with the delicate meaning of the little things with aplomb. I stand by it.
I love you, Amélie. This movie is more than beautiful and one of my favourites that you can watch on cold winter days when nobody else is at home, because to me this is a movie to watch alone to fully appreciate its beauty.
the beautiful cinematography, the intriguing and layered storyline, Paris as the background, and the kooky-yet-lovable characters all weave in together to create this perfect movie about love.. my fave film of all time! <3
This bright and colorful love letter to Montmartre, Paris, stars the adorable Audrey Tatou in a quirky performance that will steal your heart. It's both humorous and poignant at the same time. Throw in a pinch of mystery, a dash of fantasy, and a dollop of romance, and you have the recipe for the best film Jean-Pierre Jeunet ever made (and he's made some very good ones.)
Still one of my favorite Jean-Pierre Jeunet movies. Jeunet sets a high value on the sensual qualities of picture and (often everyday) sound and has an intriguing way to stage them like putting them under a magnifying glass (e.g. the sound montage accompanying the faked letter). I also estimate Jeunet's sense for bizarre and comical details as well as the superb camera work of the movie.