Product Details

• Actors: Audrey Tautou, Mathieu Kassovitz, Rufus, Lorella Cravotta, Serge Merlin
• Directors: Jean-Pierre Jeunet
• Writers: Jean-Pierre Jeunet, Guillaume Laurant
• Producers: Arne Meerkamp van Embden, Claudie Ossard, Helmut Breuer, Jean-Marc Deschamps
• Format: Color, Original recording reissued, Subtitled, NTSC
• Language: French
• Subtitles: English
• Rated: R (Restricted)
• Number of tapes: 1
• Studio: Miramax Home Entertainment
• VHS Release Date: January 14, 2003
• Run Time: 122 minutes
• Average Customer Review: 4.6 out of 5 stars  See all reviews (1,020 customer reviews)
• ASIN: B00007K08H
• Amazon Best Sellers Rank: #212,327 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

Perhaps the most charming movie of all time, Amélie is certainly one of the top 10. The title character (the bashful and impish Audrey Tautou) is a single waitress who decides to help other lonely people fix their lives. Her widowed father yearns to travel but won't, so to inspire the old man she sends his garden gnome on a tour of the world; with whispered gossip, she brings together two cranky regulars at her café; she reverses the doorknobs and reprograms the speed dial of a grocer who's mean to his assistant. Gradually she realizes her own life needs fixing, and a chance meeting leads to her most elaborate stratagem of all. This is a deeply wonderful movie, an illuminating mix of magic and pragmatism. Fans of the director's previous films (Delicatessen, The City of Lost Children) will not be disappointed; newcomers will be delighted. --Bret Fetzer

Product Description

Nominated for five Academy Awards including Best Original Screenplay, this magical comedy earned overwhelming acclaim nationwide! A painfully shy waitress working at a tiny Paris cafe, Amelie makes a surprising discovery and sees her life drastically changed for the better! From then on, Amelie dedicates herself to helping others find happiness ... in the most delightfully unexpected way! But will she have the courage to do for herself what she has done for others?

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Customer Reviews

Most Helpful Customer Reviews

354 of 373 people found the following review helpful:

5.0 out of 5 stars Tips for english viewers, December 13, 2001

By 

Bernard (Montmartre) - See all my reviews

I have seen thousands of films in my life, and thought nothing could surprise me anymore on a screen. Amelie proved me I was wrong. Instead of writing another "best film ever" comment, I would like to give some indications for non-french speaking viewers, as the translation might have made some lines a bit obscure.
Amelie says to Colignon "Meme les artichauds ont du coeur" (Even artichokes have a heart). In french, "un coeur d'artichaud" (an artichoke heart) is a person that falls very often and easily in love.
Colignon calls Amelie "Amelie-melo" (pronounce "ah-may-LEE-may-low") which sounds like "un meli-melo", a muddle or mix-up.
In the cafe, people discuss about time and weather, as the same word "temps" means both "le temps qui passe" (time that passes) and "le temps qu'il fait" (the weather). So goes Hippolito's theory : they speak about the weather because they are afraid of the passing time.
Collignon says about his mother : "Elle a une memoire d'elephant, un elephant de mer" (literally: she has memory like an elephant, a sea elephant). A "sea elephant" is a sort of walrus, and "mer" (sea) and "mere" (mother) are pronounced the same.
When Amelie is in a theater, she watches "Jules & Jim", a movie by Francois Truffaut. There are many references to Truffaut in the movie : Claire Maurier plays the mother in "the 400 blows" and many scenes refer to "Bed and Board", which itself refers to Hitchcock's "Rear window". I still have to figure which was the movie whith Spencer Tracy driving without watching...
When Amelie watches her projected life on TV, a scene that refers to Woody Allen's "Zelig", the voice over is from Frederic Mitterand, nephew of his uncle, who is famous for commenting weddings or funerals of aristocrats on french TV.
The "likes/dislikes" narration was experimented by Jeunet in a short movie "Foutaise" with Dominique Pinon, that will be included in the collector edition of the DVD. It also refers to "La vie, mode d'emploi" (Life: a user's manual) from Georges Perec, although Jeunet admits he could never finish the book.
Most TV scenes are stock shots. The story about the horse running in the Tour de France is true. Most stories told in the film are true, including the one about collecting discarded pictures.
There are numerous references in the movie, including to other Jeunet films. The scene in the mystery train is almost a copy of a similar scene in Alien : Resurrection where Ripley has an almost tender behaviour with the alien.
Finally, "Amelie" comes from "Emily", as Emily Watson was supposed to play the role, and "Poulain" is both a young untrained horse and a chocolate brand. And this is not a coincidence.

132 of 140 people found the following review helpful:

5.0 out of 5 stars An irresistible smile of a film, January 10, 2003

By 

Daniel J. Hamlow (Narita, Japan) - See all my reviews
(HALL OF FAME REVIEWER)    (REAL NAME)   

This review is from: Amelie [VHS] (VHS Tape)

Like the star of Chocolat, the title character of this magical comedy also wants to heal people inside. But this particular healer is a daydreamer with an irresistible smile, a Louise Brooks bob hairstyle or an Audrey Hepburn-like bun when it's tied up, and will charm the pants off the iciest of souls.

The only-child of a tight-lipped, hard-hearted doctor father and a neurotic schoolteacher mother, Amelie Poulaine grew up being too much unloved, with a not too happy childhood. As a young lady, she becomes a waitress at the Two Windmills cafe, but other times spends her time in an imaginative world of dreams, not forming close ties with people, being terribly shy.

One day, she is watching TV when Princess Diana's death is announced. From then on, she decides to be a healer of sorts, whether it be uniting a man with childhood memories he left in a cubbyhole in the skirting board long time ago, trying to soothe the hearts of people, make people's lives better, or being an avenging angel. The scene where she helps a blind man across the street and describes what's going on is simply magical.

Amelie is also befriended by artist Raymond Dufayel, known as the Glass Man because of a disease that has given him very brittle bones. They communicate indirectly through a painting he's working on, particularly a young girl that Dufayel's trying to figure out.

Amelie meets Nino Quincompoix, a man who collects discarded, frequently torn ID card photos from a photo booth and puts the reconstructed pieces in an album. Included in there many times is a stern bald man whose pictures are always torn up. Amelie finds Nino's album and wonders who the bald man is. This is a mystery included in the film.

There's Colignon the grocer, an obnoxious middle-aged man who delights himself in disparaging his assistant Lucien, who's slow-witted but nice and sensitive. Amelie feels sorry for Lucien and the scenes where she becomes his avenging angel at Colignon's expense are hilarious. At one point she tells Colignon, "You'll never be a vegetable. Even artichokes have hearts." Ouch, but well deserved.

Amelie's widowed father spends his life collecting garden statues to decorate his dead wife's shrine, instead of travelling around the world. Amelie steals one of them, a bearded garden gnome complete with red pointed hat, and then something weird happens. A few days later, her father receives a postcard from the gnome, who is apparently on holiday abroad!!! This goes on for a while and completely baffles him.

Audrey Tautou would've been my choice for Best Actress of the year. I simply melted everytime she smiled in the movie. She also bears a slight similarity to another Audrey--Hepburn. Both have in common black hair, a face brimming with charm, and irresistible smiles. Maybe that's why it was love at first sight with me.

Director Jean-Pierre Jeunet uses some quirky film techniques, mostly visual imagery, such as a scene when Amelie literally dissolves into water. The onscreen narration is also useful. At times, it sets the stage for turning points in the film. Earlier, it describes the likes and hates of the Poulaines and the one important characteristic of the Two Windmill employees. He creates an imaginative film that's a breather from the usual Hollywood grind. But it's his closeups of Amelie and her smile that make this worth seeing over and over.

273 of 300 people found the following review helpful:

5.0 out of 5 stars Makes you feel all warm., October 17, 2001

By 

darragh o'donoghue - See all my reviews

Before I urge you to rush out and revel in this romantic wisp of a movie, I must warn you that it is the kind of film that will make you either quake with bleary joy, or propel you out of the cinema with an ungovernable urge to smash things. If the words 'sugar', 'naive' or 'cute' are not in your vocabulary; if the mere sight of a bobbed gamine making eyes at you across the screen doesn't make your heart flutter; if scenes where lamps discuss their owner's love life with her paintings, or a young girl screams to save her suicidal goldfish don't enchant you, than, in the words of Gilbert and Sullivan, don't go.

If, however, you feel your spiritual home is in France, than 'Amelie' might just make you fall in love again. it is for those who love Paris in sunshine or rain; who palpitate at the very thought of tree-lined Parisian streets and cafes; who have experienced haunting musical epiphanies at night in empty Metro stations; who have read Raymond Queneau novels; who rejoice in street markets, Renoir paintings, or the sight of horses running in the Tour de France.

'Amelie' is a romantic comedy for those who prefer the chase to the clinch. its heroine is almost a ghost, unloved and friendless as a child, who presides disembodied over strangers' lives, linking characters, punishing baddies and deciding destinies in ways that seem supernatural to them. She can only observe others from a distance and act accordingly - her own life remains emotionally dead. Of the various Queneau-like mysteries, red-herrings, non-sequiters and paper trails strewn throughout the film, the most pressing and emotionally charged is - will Amelie find love and rejoin the real world?

The film is unashamedly nostalgic in its romantic vision of a vanished (never-was?) Paris, where musette is still played in sparse cafes, and funfairs and ghost trains become sites of erotic possibility. The CGI effects are used not for inhuman spectacle, but to do rich justice to individuals' inner lives. The idea of reworking the past; the comfort of myths, lies and delusions; the creation of one's own future - these are some of the film's themes, and they encompass characters, culture and place. As such, the film has been condemned as reactionary. It's probably sexist (although I identified with Amelie, rather than simply fancying her).

It has reminded people of various reference points from the Oulipo writers to the early films of the French New Wave to Ally MacBeal. its most recent counterpart might be 'Magnolia', from the opening narrtion with its comic chaos theory, and its narrative about disparate people trying to connect, to the godlike force that contrives to do so. But it's much more treasurable than that. i loved this film. I loved the adorable Audrey Tautou, funny and smart, with huge melancholy eyes - a 21st century Audrey Hepburn. I loved the way the film felt like a cinematic novel without being literary. I loved the way the mystery plots took on emotional dimensions - the connection of clues to recover the past to restore happiness. I loved the colours, especially those rich reds; the wistful accordian music; the love of vignettes, photographs, chance, fantasy, dreams...