Le Fabuleux Destin d'Amélie Poulain

I had a pretty big problem with this film at first, I felt it was like a lot of shards that I was rummaging through in confusion, and it wasn't until the end that those shards came together into one beautiful vessel. The second time I saw only the vessel, beautiful, without the slightest blemish. (13/01/2003)

It’s 21 hours, 51 minutes and 43 seconds of October 2, 2009, the temperature outside is 11°C, and while Jakub is reviewing Amélie, 26 people are having an orgasm in the city of České Budějovice. (02/10/2009)

Miss Amelie and her fairytale, loving, a little sad and humanly warm world enchanted me at first glance. What makes this film special? Definitely the story and the general tuning. It's harmony dyed into a clear and intoxicating cinematic fluid that can warm the soul better than a gulp of rum. The acting performances, especially the title role by Audrey Tautou, who managed to play an extremely difficult role with complete persuasion. The cute supporting characters who are overflowing with life without necessarily having to get too much time on screen. Jeunet made a film with naïve childhood love, a naively uncritical view of reality. And it's not fake, it's not even overly sweet - it's miraculously soothing. Amelie is a small island of peace and love in an overall bleak world and cinema. Amelie is the gentle girl caress I need from time to time. (17/03/2004)

A French oddity that nearly bored me to death. I didn't find it funny at all, let alone entertaining or intelligent. The visuals and the acting are repulsive and the script is not very interesting. I really don’t get how this can be the 24th favourite. Thumbs down for me. 40%. (08/03/2018)

What I like most about Amélie and this film about her is that she notices the little things. She lives in her own happy and colorful world. Amélie is definitely different from the other girls... but sometimes I wondered if the effort to be different was too much. Audrey Tautou was definitely the best choice. I don't know many actresses who look that interesting yet fresh. I rarely give a French film 4 or 5 stars, and unfortunately I won't do so now. Still, something nice stayed with me. (03/08/2011)

Amelie can be considered the commercial and artistic pinnacle of Jean-Pierre Jeunet's work. The film was enjoyed by practically everyone except for French critics, who criticized the excessive idealization of present-day Paris in the film. Jeunet himself admitted that Montmartre, as he filmed it, doesn't actually exist anymore, but in his movie, it's not about realism but about poetic exaggeration, playfulness, and imagination. It's a very positive spectacle, an unconventional romance, full of clever scenes, funny situations, and the charm of Audrey Tautou, who built a decent career on the back of this comedy. Overall impression: 95%. (24/04/2009)

The rumors and thousands of rave reviews didn't lie: Amelie is amazing. This endearingly poetic film has a kind of irresistible charm, thanks to which it combines several genres, looks both kitschy and original at the same time, the actors playing bizarre characters suddenly become ordinary people living ordinary lives in an ordinary Parisian neighborhood... In short, it is an extraordinarily ordinary film, bursting with color and optimism, and with great music. (21/10/2011)

This film quite successfully teeters on the edge of great kitsch and utter perfection. On the one hand, you have to admire Jeunet's original and heartfelt narration; on the other, at times it makes you wonder why the whole thing is so strangely (in short, weirdly) filmed and nothing proper happens. The casting of Audrey Tautou was a hit, without her Amélie wouldn't be half as atypical and likeable a character, and the film wouldn't be one that can move, make you laugh and feel amazed; and it only needs a few thoughtful shots to do so. (25/05/2012)

I took advantage the re-release to celebrate the film’s 20 anniversary and went (for the umpteenth time) to the magical world of Amélie of Montmartre. Jean-Pierre Jeunet's film has lost none of its distinctive charm and atmosphere – Amélie has aged like a fine French wine. Apart from the sometimes melancholic but all the more endearing story with an incredibly positive charge, I liked the narrative and visual style that more than once reminded me of Wes Anderson's work. The icing on the cake is the wonderful soundtrack, which has basically taken on a human form over the years. Amélie, the a timeless story about a young woman who tries to make the world around her a better place, while easily forgetting herself, always gets me, entertains and moves me with every viewing. (18/04/2022)

Le Fabuleux Destin d’Amélie Poulain est incontestablement l’un des films les plus envoûtants de tous les temps – un film qui a un effet bénéfique sur l’organisme du spectateur et sur son état d’esprit. En tant que francophile, je proclame qu'il est impératif de regarder ce film en VO, que ce soit avec ou sans sous-titres. J’ai vu un bout de la version doublée et la magie disparaît presque, même si le doublage tchèque est généralement de grande qualité. Je m’en souviens comme si c’était hier : j’ai regardé le film quand j'étais au lycée, après une journée assez difficile à l’école. La salle était remplie presque exclusivement d'élèves que je reconnaissais du lycée. Je me souviens encore aujourd’hui de la bonne humeur qui régnait et de l’énergie positive que j’ai ressentie après la projection. J’ai pourtant eu, juste après, mon premier malentendu avec une fille dont j’étais amoureux, mais ça n’a pas affecté ma bonne humeur générale. Et je suis totalement d’accord avec mon prof de l’époque qui disait que ce film devrait obligatoirement être diffusé dans les écoles. Parce qu’effectivement, il fait chaud au cœur. Pour finir, je ne peux m’empêcher d’adresser un petit coup de gueule aux distributeurs tchèques, parce que j’ai l’impression qu’après ce film, toute œuvre – bonne ou mauvaise – dans laquelle a joué Audrey Tautou a été automatiquement adoptée, alors que d’autres films français parfois de bien meilleure qualité ont été ignorés, juste parce qu’on n’y trouvait pas « Amélie ». Enfin, c’est la vie ! (10/04/2014)

Amélie is an autobiographical film by Jenuet in which an overgrown child directs the lives of others to manipulate them into certain positions. In doing so, she proves that no one's destiny is predefined, and more than once she defends a lie over an ugly truth (see, for example, the fictional letters from her landlady redeeming her crooked husband in her eyes). An existentialist romance and defense of a life led in a constant compilation of sidequests without a main motive that leads only to unhappiness and disappointment. After all, the proof can be found in the work itself, with its setting in the same Paris in which, for example, Hate was set six years prior. Jenuet himself admits that with each set change, the crew faced an hour-long martyrdom of cleaning up trash, cleaning off graffiti, and I suspect a little old man who would also have preferred to paint the black extras white. The reason is that the Paris we see is the Paris the protagonist herself has invented in her escapist naive imagination. And the fact that there is no such Paris, never has been, and never will be, is our problem alone, because we don't see it that way, even though we have the same means that she does. ______ Even if any of the above doesn't resonate, it's hard not to succumb to something so incredibly well and unmistakably filmed. Name any formal method and the film will use it at least once. There are all types of shots, several types of narration, and now that I've finally seen the Blu Ray, I also enjoyed the incredible sound design. The changes in the background sounds when the landlady reads the fake letter pieced together from other letters, the apocalyptic noise of the trees that sounds around Amélie's widowed father. There’s that clichéd phrase "This movie’s got it all" – but. this. movie. really. does. have. it. all. You could edit a trailer for virtually any film genre out of all the footage. That's also why the final recognition of Amélie and Nino works, because after all the audiovisual escapism, suddenly everything shuts down and they're left with a slow, silent scene with no music and no words, just the two of them. I'm trying unsuccessfully to rein it in, but I really haven't seen anything this well shot in a long time. It's a romantic comedy about overgrown kids in a giant sandbox, where the director mixes that infantile enthusiasm with an empathetic and thoughtful nature that manages to make each character out of conscious soulfulness. EDIT 2022: Set in a dream variation of reality, where a romantic story can unfold against a backdrop of stagnating history, Amélie (heroine of The End of History) is actually the spiritual successor to The Woman Behind the Counter (the heroine of normalization). (10/08/2020)

One of the most beautiful films I have ever seen. Simply beautiful, at times unbelievably kitschy and in its tone also perverse, but presented in a unique way. This is a unique example of how the imagination can swirl and dazzle and yet remain in a cohesive whole that never ceases to entertain. And Audrey was never more enchanting. (20/10/2014)