![]() In a bid to jolt her widowed father into moving on, she mischievously steals his prized garden gnome who sends back polaroids of his globe-trotting voyages. Jeunet recreates a televised, lavish funeral for elderly Amélie, “the godmother of outcasts”. She imagines a life spent in the pursuit of happiness for others. He has not even met his grandson.Īmélie, giddy with her first success, develops a taste for improving people’s lives. The nostalgia ignites in him a desire to reconnect with his estranged daughter. As the anonymous benefactor, she watches him transform: Jeunet floods the screen with black and white images as the box’s contents bring back childhood memories. ![]() She engineers a situation in which the man finds the little box seemingly by chance. She asks around: her concierge, her grocer – do they know the name of a boy who lived in her flat during the 1950’s? A twist of fate leads her to the correct person. She makes a chance discovery at her flat, when she unearths a tin box, filled with a boy’s keepsakes from decades before. ![]() But Amélie (a star-making role for Audrey Tautou) is filled with curiosity: she notices everything around her. She lives an isolated childhood with her unhappy parents, and when she leaves home, she buries herself in a waitressing job in a Parisian cafe. A glorious, whimsical love letter, the French film Amélie sets its heart on convincing the cynics among us that romance – real, honest-to-goodness romance – is still very much alive in the 21st century.ĭirected by Jean-Pierre Jeunet, Amélie is introduced to us in montage. ![]()
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