#AMELIE WATCH HOW TO#

Jeunet’s directorial style is distinctly European (ignoring his American debut “Alien: Resurrection,” rather concentrating on “Delicatessen”) unlike most recent American directors.įor example, like German director Tom Tykwer introducing several of his characters with still-photo montages of their futures in “Run Lola Run,” Jeunet chooses to create a list of his character’s likes and dislikes, which have no relation to the story at all (Amelie’s mother likes figure-skater uniforms, while her father likes peeling wallpaper and shining his shoes.)Īnother habit Jeunet has acquired is his love of close-up shots, especially of the star Tautou.

#AMELIE WATCH HOW TO#

Her only task is to figure out how to finally introduce herself without driving him away. It takes a chance meeting with another lonely spirit Nino Quincampoix (Mathieu Kassovitz) to open her eyes. In an attempt to send her father RaphaÃl (Rufus) on a vacation, she sends his garden gnome on a trip around the world, sending back photos from famous landmarks.ĭespite her eye for noticing those in need, she is blind to her growing loneliness. She terrorizes Collignon (Urbain Cancelier), the mean, neighborhood grocer who constantly belittles his assistant Lucien (Jamel Debbouze).

Tracking down the owner awakes a new spirit in her, driving her to help others.Īmelie befriends the lonely Raymond Dufayel (Serge Merlin), who copies Renoir’s “Luncheon of the Boating Party” every year and whose bones shatter so easily, he hasn’t left his padded apartment in years. Picking up where “Pay It Forward” failed to go, Amelie Poulain (Audrey Tautou), a shy and introverted waitress, discovers a box of 40-year-old toys hidden behind a tile in her bathroom. Despite being a hit in its native France, Jean-Pierre Jeunet’s most recent attempt to hop off that last shelf, “Amelie,” appears to be following its predecessors, hiding in obscurity with American audiences. Sadly, only “Life is Beautiful” and “Crouching Tiger, Hidden Dragon” have managed to strike a chord with American audiences, driving most other foreign films onto the last, lonely rack at the video store. Amelie' worth a watch by American viewersĪpart from the phrase “art-house film,” no term can induce as much panic and dread into American moviegoers as “foreign film.” Specifically those pesky subtitles, which force the audience to gasp and actually pay attention.

Amelie watch