There are certain things that make Amélie the unique vision that is: its stylish, candy-coloured palette, Tautou’s child-like wonder and her intangible likeability as an actress, its twee quests and mysteries, scatterings of magic realism and post-modernism, as well as Yann Tiersen’s swooning soundtrack.
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Tautou, not wanting to be typecast her entire career, quickly sort not to replicate herself seeking roles as schemers (Priceless), plucky immigrants (Dirty Pretty Things) and a Sexy Lamp for Tom Hanks to talk to in mindless Hollywood fare (The Da Vinci Code). Jeunet’s work post-2001 cannot help but pale in comparison to his fizzy, life-affirming magnum opus. The problem with Amélie’s unique-ness is that there are no films that are truly comparable – Jeunet’s preceding films (Delicatessen, The City of Lost Children and Alien: Resurrection) toy with darker themes and, though masterpieces in their own right (apart from Alien: Resurrection, which is just really bad), are not as accessible or light-hearted as Amélie. She gains a certain enjoyment from cracking the top of a brûlée with a spoon, skimming stones, and giving inanimate objects holidays the actress that brings this iconic creation to life is the lovely Audrey Tautou.
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The simple yet engrossing tale of a naïve French girl who acts as the personification of karma and deals out justified retribution to the evil and childhood memories to the good. Rarely is a film as life-affirming and singular as Jean-Pierre Jeunet’s La fabuleux destin d’Amélie Poulain (or as it is known in the English speaking world: Amélie).