Amélie

Amélie

Amélie, nama asal Le Fabuleux Destin d'Amélie Pouline, satu filem Perancis komedi romantis yang diarah oleh Jean-Pierre Jeunet. Lakon layar yang ditulis oleh pengarah Jeunet bersama Guillaume Laurant, dengan latar belakang kehidupan di Montmartre, Paris. Filem ini merupakan filem usaha sama antara syarikat dalam negara negara Jerman dan Perancis.Filem ini telah memenangi banyak anugerah filem. Antaranya termasuk Filem Terbaik di Anugerah Filem Eropah pada tahun 2002 di Jerman dan Anugerah Cesar di Perancis pada tahun yang sama. Ia juga telah menerima lima pencalonan Anugerah Academy 2002 di Amerika Syarikat.

Filem Amélie mengisahkan tentang gadis yang pemalu tetapi memutuskan untuk mengubah kehidupan orang-orang di sekelilingnya sementara bergelumbang dengan kehidupannya sendiri yang terasing.Amélie Pouline, yang dibintangi oleh Audrey Tautou, seorang pelakon Perancis, merupakan seorang gadis yang giat berdaya imaginasi cergas. Amélie didiagnosis oleh ayahnya Raphael Pouline, pada masa kecil lagi, dan didapati dia mempunyai masalah jantung, yang sebenarnya Amélie segan untuk diperiksa oleh ayah yang serupa orang yang tidak dikenali, sedangkan Raphael tidak pernah sentuh anaknya selain pemeriksaan kesihatan. Amélie yang masih kanak-kanak lagi dilarang bermain dengan kanak-kanak lain dan bersekolah di rumah sahaja. Titik pertama yang penting dalam kehidupan Amélie adalah apabila ibunya dalam kes membunuh diri seseorang dari bumbung gereja. Selepas kejadian itu, ayah Amélie dari seorang pendiam, telah menjadi seorang yang, berbanding dengan masa isterinya masih hidup, pendiam. Walau bagaimanapun, Amélie membesar seperti orang lain dan menjadi seorang dewasa dan bekerja sebagai pelayan di Cafe des 2 Moulins, tanpa dipengaruhi oleh ayahnya. Titik kedua yang penting dalam hidup Amélie, adalah semasa kematian Diana, Puteri Wales dalam satu kemalangan pada tahun 1997. Amélie menyedari bahawa betapa rapuh dan pendeknya kebenaran kepada sesuatu dipanggil 'hayat.' Kemudian Amélie membuat keputusan bahawa dia perlu membuat sesuatu, dalam masa yang masih ada, terhadap orang-orang di sekelilingnya.

Jikalau tidak tengok pada plot filem ini, perkara yang benar-benar menarik hati saya adalah watak-watak di sekeliling Cik Audrey Tautou, pelakon Amélie. Watak-watak yang berlainan ini telah dibina dan berhidup di dalam dunia yang dicipta oleh pengarah Jeunet. Dengan contohnya, penghisap rokok yang "hypochondriac (seorang yang terlalu cemas terhadap kesihatannya)", penjual barang runcit yang "tyrannical (lalim, zalim, kejam)", pelukis yang digelar "The Glass Man", yang mempunyai penyakit tulang tidak kukuh dan mudah cedera jika tidak berhati-hati.Walaupun filem ini agak fantasi dan memberi perasaan dibuat-buat, tetapi apa yang menarik hati saya adalah senyuman Amélie, Audrey Tauton, yang membawa perasaan cantik, dan sedikit nakal di samping wajahnya yang cantik itu.

Disediakan oleh

Foo Suan Hui

1 SHAC

Film Review

"Amelie Poulain" reviewed by Khairul Hafiz

Criticized by Khairul Hafiz bin Abu Zarin

The Fabulous Destiny of Amelie Poulain is a film of a romantic comedy genre directed by Jean-Pierre Jeunet. It shows the description of the modesty Parisian life, located at Montmartre.

In this story, Emilie is shown to have different behaviours from other children of her same age due to surroundings factors. She was diagnosed by her father to have a heart problems, Raphael Poulain who is an ex-army doctor treated her cold in the house. Her mother is a teacher decided to teach her at home and did not allow her to go to school to communicate with others.

After the tragic dead of her mother, Amelie stayed in the house with her father. After 5 years,she left the home and become the waitress at Two Windmills and still live surrounded by strange things. Then she found a treasure box owned by a young kid. By tracing down the owner of it which is Mr.Dominique Bredotau, she was also unintentionally has been involved in a Mrs.Wallace's husband secret story, and brings her to the Mr. Raymond Dufayel, his reclusive neighbour and his drawing masterpiece. Being able to return the treasure box to Mr.Dominique has made Amelie eager to help others.

I personally think that this movie magnificently shows the value of uniqueness. It shows that uniqueness is not sinful plus we can show the true self of us in this odd value by contributing and helping others. This movie might change the people scope of thinking nowadays, or the “paradigm” that we are taught and familiar with, that is; we are safe as long as we are same with other people, and they will like us and accept us. This is totally wrong since we have been too oriented to adopt the behaviour of copying other people which do not reflect our true self or a simplistic word to describe it, being hypocrite.  Emilie, what she is doing is being herself, honest to herself, honest to others, and the best of all is helping others. We cannot be copy cat, it’s better to be ourselves and accept the fact that we cannot satisfy everyone, but we can satisfy a lot of people by being nice even if we are weird.

                I can tell that the director of this movie is emphasizing the value of uniqueness, differentiation, not standardized, and avoid being copy-cat or hating our true personalities. This gives a lot of lessons, and the big ones are all of the “positive values” shown by Emilie. I would like to say this: choose a job that you love, and you will never have to work a day in your life. This makes sense to Emilie, she is not helping people and considers it as works or burdening things, she enjoys helping others. The director of this movie is actually telling us directly that we have to enjoy what we are doing especially in helping others.

                The other positive value is, Emilie is not going to wait and sit there so that what she wants will come to her. Instead, she pursues what she wants. Even if you are on the right track, you will get run over if you just sit there. Whatever we do, we must perform our best and giving the best effort that we possibly can, we will turn out to be a positive person like Emilie.

However, the nudity part of this movie is seen to be too revealing and quite embarrassing. Sexual explicit materials will affect how people would behave, especially children and teenagers. The positive values of this film are blend together with nudity, make it a little bit imperfect. Free sex, is the negative idea emphasized or shown, it would be harmful for people behaviour. As human being, we should know that our body parts are not to be displayed for entertainment and free sex will destroy the obviousness of human descent.

                Actually there are a lot of things that can be criticized about the movie, and it would be 1000 pages to tell them all. A few big things mentioned actually are more than enough. To conclude, this movie, The Fabulous Destiny of Amelie Poulain has a lot of magnificent ideas and values being emphasized. However, there is obscene elements displayed in the movie which are totally unnecessary.

"The Fabulous Destiny of Amelie Poulain"

Amelie is a story about a girl named Amelie whose childhood was suppressed by her Father's mistaken concerns of a heart defect. With these concerns Amelie gets hardly any real life contact with other people. 

This leads Amelie to resort to her own fantastical world and dreams of love and beauty. She later on becomes a young woman and moves to the central part of Paris as a waitress. After finding a lost treasure belonging to the former occupant of her apartment, she decides to return it to him. 

After seeing his reaction and his new found perspective. She decides to devote her life to the people around. Such as, her father who is obsessed with his garden-gnome, a failed writer, a hypochondriac, a man who stalks his ex girlfriends, the " ghost", a suppressed young soul, the love of her life and a man whose bones are as brittle as glass. But after consuming herself with these escapades. 

Amelie finds out that she is disregarding her own life and damaging her quest for love. Amelie then discovers she must become more aggressive and take a hold of her life and capture the beauty of love she has always dreamed of.

The Pretty Amelie

            I had watched the movie for twice as I can’t really catch its meaning at first because the format of this film is very different from the usual format of movies which I commonly watched. After I watched it for the second time, I began to understand what this film really talking about and I love the way they present the film.

           There is always a kid lying in our heart and soul. However, not much people in Amelie’s age realise this. Only a few people like Amelie, maintain the feeling like a kid and being naïve enough to bring joy to people through helping them with her heart. She helped a lonely old man found back his childhood memory, she sent Santa Claus to all over the world, she described the world vividly to a blind man, and she sent the missing love letter to the lonely landlady. She is playful as a kid. She drew arrows in the park and play hide and seek with her lover. She likes to put her hand in the seeds bag and enjoy the feeling, which I used to do so when I was still a kid.

            Inside every one of us there is a hidden child, a child who used to dream big, a child who used to be brave, a child who used to be stubborn and refuse to grow up, a child who are naïve but smart, a child who are cute and naughty and a child who used to help whoever happily without thinking. But when we grow older, we have exposed to the outside world, we lost the child. And we can only find back this child who lies within us with the help of others.

Amelie

I have always dreamed of going to France one day. In my humble opinion, in case anyone would like to differ, France is one of the most beautiful countries out there. From their people to their architectural designs of their cities and buildings. And heck, Amelie, is one of the movies out there that managed to portray Paris beautifully, although, err, their people, quite differently. (This is the first time in my life I come across so many weird, quirky characters in a movie. Hopefully not in reality.)

Amelie is a romantic yet eccentric, comedy film, directed by a French film director, Jean-Pierre Jeunet, who in fact, directed quite a few films which I have never watched before except Alien Resurrection. (Alien Resurrection. Wow, I'm surprised.)

It has quite a conventional, simple romantic storyline per se. A simple and innocent girl meeting an equally odd, peculiar boy. Love at first sight. Some challenges here and there. In the end, voila! The girl and the boy live happily ever after. (Hopefully.) However, comically, it is a relatively fresh and authentic comedy. (From a non-French point-of-view.) Some of the funny moments in the movie were those truly out-of-the-box, nonsensical imaginations of Amelie. I guess extreme loneliness can actually bring out those potentially craziest imaginations out of an individual, eh? And also the times where Amelie punished Mr. Collignon, a grocer in the movie, who was rather abusive towards his handicapped assistant. The movie is also filled with many weird and odd characters who have the most peculiar habits one can imagine. Watching them living together in the same community is indeed very  entertaining.  

    

The filmmakers cleverly executed and exploited the wonders of digital intermediate here, creating a nostalgic 90's feel to the movie. Another noteworthy aspects of Amelie is its music. Here, Yann Tiersen played a wonderful role in creating music which made the movie more enjoyable to watch. I never thought that, by just changing the rhythm and the instruments used, can change the emotions of the same music. Brilliant.

The use of narration in Amelie was apt. It managed to engage and kept me watching without feeling lost in the middle of the movie. Credit should be given to the film's narrator, Andre Dussollier. His narration was very effective in Amelie, like Morgan Freeman's narration in The Shawshank Redemption, though sometimes absurd. But most importantly, it suits the movie perfectly.

This light-hearted and meaningful movie is definitely suitable to watch with our families, although do take caution with young ones as some parts of the film are quite sexual in nature. Apart from those, Amelie is definitely one of the memorable movies that one can best watch with family during weekend.

Adieu.

Le Fabuleux Destin d'Amélie Poulain

The charming Amélie, already a hit in its native France, is bound to capture people hearts and imaginations with its whimsical fable. Its color-drenched view of Paris and stylistic camera work is a visual treat. But the most engaging aspect is the performance of 23-year-old Audrey Tautou as a kindhearted, shy waitress whose interior life is much more compelling than her day-to-day existence. After her mother dies and her father withdraws with grief, Amélie retreats into solitude.

But after discovering a box of childhood treasures hidden behind a loose brick in her wall and returning it to the rightful owner, Amélie becomes crazy with the power of anonymously intervening in people's lives.

The movie becomes a modern-day fairy tale. Its heroine, part cloistered princess and part knight in shining armor, even bears a bit of a resemblance to Joan of Arc — though she dresses in Doc Maartens and thrift-store fashions. And instead of battling, she orchestrates — behind-the-scenes and unbeknownst to the people involved. She inspires an elderly eccentric artist, avenges the victim of a cruel bully, spurs her father to take his first vacation and convinces a downcast widow that her philandering husband truly loved her. Inspired by an appreciation for senseless beauty, she impulsively links her arm with that of a blind man and provides a running commentary on the sights around him, then scampers off to perform more good deeds.

But her focus on bettering the lives of others (some might call it meddling) keeps Amélie from facing her own growing loneliness. She exchanges glances in a Metro station with a handsome eccentric (Mathieu Kassovitz); he is intrigued, but she lacks the confidence to approach him directly. Tautou is the very definition of gamine: Her smile is impish, her dark eyes resonate with warmth and sly intelligence, and she has the coltish grace of a young Audrey Hepburn.

Equally enchanting is director Jean-Pierre Jeunet's Paris; his affection for his Montmartre neighborhood is palpable. We see it as Amélie, the dreamer, must see it — a romanticized City of Light, all dramatic skies and glimmering days. Composer Yann Tierson's evocative score is lovely, lilting and bittersweet.

critic by : Zulfadhli Bin Abdul Malik a.ka. imaJOEnation

Amélie – review

Amélie (Audrey Tatou) grows up the lonely child of parents who do not know how to show their love for her. She becomes a thoughtful, quiet, observant girl who decides to change the lives of those around her, opening hearts to the adventure that is waiting for them, taking revenge on a cruel grocer, bringing together a couple who are afraid to show their longing for each other, and bringing the outside world to a reclusive painter and to her own father. But will she do for herself what she has done for others and find love with the mysterious collector of rejected photo booth pictures? And who is the "ghost" who appears in so many of the torn photos?


AMELIE is filled with airy whimsical charm the way that a chocolate soufflé is filled with air. Audrey Tatou is just right as Amélie, a perfect gamine in a Lulu haircut.

Writer-director Jean-Pierre Jeunet gives the story a feeling somewhere between fairy tale and documentary. His behind-the-scenes glimpses of the characters' likes and dislikes – from cleaning out a toolbox and getting fingers pruny in the bath to sticking a hand in a barrel of grain and cracking the sugar on a crème brulée -- are deliciously particular and somehow very touching.

 Le Fabuleux Destin d'Amélie Poulain (The Fabulous Destiny of Amélie Poulain)

Amélie (filem)

Directed by Jean-Pierre Jeunet
Produced by Jean-Marc Deschamps,  Claudie Ossard
Written by Jean-Pierre Jeunet (scenario), Guillaume Laurant (dialogue)
Narrated by André Dussollier
Starring          Audrey Tautou, Mathieu Kassovitz
Music by          Yann Tiersen
Cinematography Bruno Delbonnel
Editing by         Hervé Schneid, Studio France 3 Cinéma, Canal+
Distributed by UGC (France), Miramax Films (US)
Release date(s)         25 April 2001 (France), 5 October 2001 (United Kingdom), 16 November 2001    
                                (United States), 21 December 2001 (Australia)
Running time 123 minutes
Language          French, Russian
Budget $10 million
Box office          $173,921,954

     I saw a very labored compilation of effects, at first a bit distracting and increasingly hard to endure. It is a by-the-numbers movie containing no real surprises or suspense. From the start, with its omniscient voice over that looms over the narrative as well as the audience, the film never strays from its predetermined course

     The story gives new meaning to the word "thin": little Amélie, unloved child, gradually opens herself to the world around her, spreads goodness wherever she goes, and finally finds Love after a long series of mishaps and coincidences. With its proliferation of cliches and false surprises, this film has less to do with telling a story than with slipping the spectator into its pocket with one of simple technique whereas the complicity of the permanent wink. Amélie is one of those films that never stops reassuring the audience that it's on their side, taking them firmly by the hand and leading them so well. In this sense it's a very old-fashioned film. To maintain the audience's submission, Jeunet resorts to two distinct methods: facile tricks and stereotypes, the first thriving by artificially animating the second. The audience has grown accustomed to these tricks after years of being beaten over the head with them in commercials. Characters are heavily typed until they're transformed into familiar figures (the obnoxious merchant, his gentle, put-upon clerk, the reclusive old painter, the love-struck cashier, the big-hearted concierge, and then we're given a series of minute variations on said types. Once the audience is in familiar territory, it's seduced by the use and abuse of in-your-face devices likely Amélie's heart beating under her sweater or any number of crazy, ostentatious camera stunts. The frenetic piling up of, and constant emphasis on, these familiar devices, which initially make the film seem so lively, become tiresome. Jeunet creates nothing fresh, but he pulls out all the stops to conceal his lack of inspiration with a profusion of frenzied activity. What's even more seductive is that he's working with a very restricted iconography: the film is filled with hackneyed images of eternal "Frenchness," from the Tour de France cyclist to playground marbles to Montmartre as the quintessence of touristic Paris, the painter of French bliss par excellence, to Truffaut , the legendary custodian of French charm. This aspect of the film is as dull as it is reductive and it's stuck somewhere in a Fifties time warp.

       In a sense, Amélie depends on the maniacal cataloging of signifies of a caricature France. However he cleverly opts for a tone that is modest rather than grandiose, and situates his film in the realm of the trivial. As the voiceover says of its heroine, the film "cultivates a particular taste for the small pleasures"—pleasures that, in the end, engage with nothing. And if the Kaganskian thesis of the film's objective collusion with Jean-Marie Le Pen's anti-immigrant platform seems a bit excessive, it must be said that the so-called poetry that trickles through Amélie depends on a profoundly reactionary impulse—the reinstatement of a cliche snapshot image of France in order to reaffirm its enduring value. Amélie is a film that folds back on itself, a chilling return to an obsolete iconography and a frighteningly closed vision of the world. Any attempt to explain the film's success has to deal with its underlying idea: reconciliation. The reconciliation of France with itself, with its past and its past values, and with the idea that the neighborhood is the sole desirable horizon (and between you and me, the only place where we'll be safe and sound). Finally, when all is said and done, we can all hold up our heads with pride.

movie review by hoon chia soon

Amélie is home schooled by her mother. She has a fantasy life. After the death of her mother, Amélie leaves home and becomes a waitress at café.

She finds an old metal box of childhood memorabilia hidden by a boy who lived in her apartment decades earlier. She resolves to track down the boy and return the box to him, and promises herself that if she finds him and it makes him happy, she will devote her life to bringing happiness to others and helping others as much as she could.

Amélie grows up the lonely child of parents who do not know how to show their love for her. She becomes a thoughtful and quiet girl who decides to change the lives of those around her, opening hearts to the adventure that is waiting for them, taking revenge on a cruel grocer, bringing together a couple who are afraid to show their longing for each other, and bringing the outside world to a reclusive painter and to her own father.

Initial release: November 2, 2001 (USA)

Director: Jean-Pierre Jeunet

Cinematography: Bruno Delbonnel

Screenplay: Guillaume Laurant, Jean-Pierre Jeunet

Ulasan:

Amelie merupakan filem Perancis pertama yang pernah saya tonton. Jalan ceritanya yang baik tidak mengajak penonton untuk banyak berfikir kerana dapat difahami melalui reaksi atau gaya yang dibawakan oleh pelakon di dalam filem tersebut. Pada permulaan cerita tersebut, pengarah telah menggunakan suara latar dan pelakon unutk menunjukkan kehidupan Amelie ketika kanak-kanak. Watak kanak-kanak Amelie ditamplikan sebagai seorang yang menghidapi penyakit jantung dan tidak dibenarkan bermain bersama kanak-kanak yang lain. Dia hanya berkurung di dalam rumah dan bermain bersama permainannya. Dari kecil lagi Amelie ditampilkan sebagai seorang yang suka mencari kegembiraan diri dengan membalas perbuatan orang lain yang menindas dirinya. Contohnya ialah jirannya yang telah menyalahkan dia sehingga terlibat dalam kemalangan dan Amelie telah mengganggu jirannya tersebut dengan mematikan elektrik untuk beberapa kali bagi menggangu masa menonton jirannya itu.

          Ketika Amelie sudah besar, Amelie ditampilkan sebgai watak yang ingin memberikan kegembiraan kepada orang sekelilingnya. Permulaan bagi watak tersebut ialah Amelie menjumpai kotak lama di dalam rumah sewanya dan memberi kepada pemilik asalnya tanpa pengetahuan bahawa dialah yang memulangkan kotak tersebut. Watak Amelie ini jelas menunjukkan bahawa dia seorang yang baik hati kerana suka membantu orang lain terutama dalam menggembirakan hati orang lain. Konflik cerita ini bermula apabila terdapat seorang lelaki mencari seorang wanita bertopeng hitam dan berpakaian hitam yang merupakan Amelie. Penonton akan tertanya-tanya adakah Amelie akan mendedahkan bahawa wanita tersebut adalah dirinya? Pelbagai usaha dilakukan oleh Amelie untuk bertemu dengan lelaki trsebut dan mendedahkan identiti seorang lelaki misteri di dalam foto lelaki itu.

          Keadaan filem yang tidak susah untuk difahami mengajak penonton untuk mengikuti kesudahan kisah Amelie dan lelaki tersebut. Adakah Amelie akan menerima lelaki tersebut? Adakah Amelie akan mengaku bahawa dialah wanita bertopeng tersebut?

          Kesudahan cerita ini menunjukkan Amelie menerima lelaki tersebut sebagai teman hidupnya dan mereka hidup bahagia melalui penampilan watak mereka menunggang motosikal bersama dan begitu mesra. Gaya perceritaan, watak yang ditampilkan dan kisah yang ditonjolkan dapat memberi inspirasi kepada penonton bahawa membantu orang lain untuk mendapat kebahagiaan merupakan kepuasan dan kegembiraan untuk diri kita juga. Dan saya berpendapat cerita ini amat menarik untuk ditonton.

HUZAIFAH    FEZARI BIN ABD HALIM

AMELIE

Director : Jean Pierre Jeunet

Genre : Comedy / Romance
Main actor : Audrey Tautou

Growing up without a mother is totally hard. But, Amelie was surviving her life with the full of happiness. Amelie an innocent girls live in Paris with her father. She is a waitress in some restaurant and struggling help people around her. 

The starting was very creative instead of direct to the full story line. Even the background information, the characters was delivering on the unique way and creative story. Each movement in this film showed the creativity by the director that can capture attention from the audiences.

A plot containing a bit confusing about the story line. Many sub story with the many different situation but all these things are related to Amelie. Luckily, it was full of details of the story. Audrey Tautou (Amelie) is a good actress. She can express their feeling and action in natural ways. The body gesture, eye contact and the way she smile can express what she really mean it.

This movie was shot in the beautiful environment and location. The cameraman shoots in the best angle. Angle of view effects the film itself. Mostly, they shoot on full scenery to show the full situation. The aesthetic quality of the blur was very good. Bokeh has been used on this film to show the out-of-focus area.

Bokeh

Lighting is another criteria that will consider as a good film. This film gives at least 85% absolute lighting, which is suitable with the mode for each scene. It can be categorized as  good as modern classic film.

The ending is simple but nice. All the question marks was reveal at the ending session. The girl with the full of imagination get the happy ending with that guy. Totally Amelie's film was directed well. But why she keep pick up the stone and put on her pocket? Mysterious!

By : NORLIZZA BT MOHEYER

Amélie

Amélie

Directed by	Jean-Pierre Jeunet
Produced by	Jean-Marc Deschamps Claudie Ossard
Written by	Jean-Pierre Jeunet (scenario) Guillaume Laurant (dialogue)

I personally feel that Amalie was a very enjoyable film. The story is about a girl that is trying to change the live of people around her to be better but she did not know that she was struggling with her own isolation.

The film maker try to introduce by giving the audience on what type of film that they are watching so that they can predict what’s going to happen next so that the audience will feel comfortable at the beginning but as the film moved on, the audience will feel that is it very hard to predict what’s going to happen next. For example when Amalie ripped out the photos but it end up being samples of the repairman.  The film is a combination of fantasy and real life, for example the conversation is normal for our daily life but there is also some fantasy involve such as cat can listen to children stories, glasses magically dance in the wind.

The film does not have a good background sound. Most of the time it’s silent, it only have action sounds such as glass clinking, door opening which makes this sound not real. The audience plays a role as an observer. The camera stands at a distance, allowing the audience to view everything from a far distance.

Overall, I think that this film is a very good film which makes the audience to think and it grab the audience’s attention to watch move wanting to know what’s going to happen next. It’s a very funny film with full of surprises. It should be introduced to Malaysian because this will give them a whole new perspective.  

  

"Le fabuleux destin d'Amélie Poulain"

122 min - comedy / romance 

25 april 2001 (france)

jean-pierre jeunet (director)

Audrey Tautou, Mathieu Kassovitz (stars)

     The Fabulous Destiny of Amelie Poulain is a 2001 romantic comedy film directed by Jean Pierre Jeunet. this movie tells the story of a shy waitress, played by Audrey Tautou, who decide to change the lives of those araound him better, while struggling with their own isolation. Amelie, an innocent and naive girl in Paris, with her own sense of justice, decides to help those around her and along the way, discovers love. this film was a major box office success. Amelie won Best Film at the European Film Award, its won four Cesar Awards, two BAFTA Awards and was nominated for five Academy Awards.

     In my opinion this film very different from other film because the display is very animated film and fantasy. from the begining this film already introduce the character in this story. around 15 minutes this film introduce the character. i like this film because this film is not the same with other film i have ever seen before.

        I wasn't sure what to expect with this film - I'd heard others raving on the boards about it but didn't even know the most basic of plot details about it, I didn't even know who the director was. When the opening credits rolled and I saw that it was Jeunet as director I immediately realised that this may not be as straightforward as I had thought. Almost immediately, the different humour comes through in lots of ways - from little things like the way the cameras moves up to the full script. The plot doesn't totally work and some of the strands are a little unclear, but overall the film really works well as an alternative romance that is as sweet as it is quirky.

      The influence of Jeunet is the main reason the film works as well as it does. He tones down his usual darker style and delivers something just as different and unusual but much lighter and refreshing. As writer he does a great job coming up with imaginative characters and situations. The other reason it works so well is through the performance of Tautou; she is such a wide eyed innocent - sweet without being sickly and likable without taking away from her quirkiness. The support cast are all good and features a few Jeunet regulars but really it is Tautou's film and she carries it well thanks to the great work of the director.

     Sexual content in this film probably suitable for screening in western countries but in malaysia such scene should be filtered. it give negative influence to the audience especially teenagers. sex scenes should be reduced, so the film can be marketed throughout the country and can give a good lesson to the viewers.

      Use of  color, environment and landscaping create the atmosphere that suits the narrative plot. director also use the camera and computer technique have produced images that bring life to more fantasy and imagination Amelie.

    Overall this is a surprisingly sweet film that took me by surprise and was sweetly charming and lovely without falling into cliché - it was different and quirky in a refreshingly enjoyable way. If you come to this expecting one of `the greatest films ever made' then you may be a little surprised because the film is quite unassuming and is best enjoyed when you come to it fresh.

     

from: Rizal Akmal Bin Naiai@Naim (1shac)