Review: Amélie

Posted by: J.S. Lee  •  November 9, 2001 @ 11:59am

Filed under: Reviews

There once lived a beautiful young woman who, despite her apparent beauty, probably did not consider herself beautiful at all. The young woman lived in a very large and old city, and despite being surrounded by people all the time, was quite shy and lonely. The young woman had very large and beautiful eyes and she would sometimes flash a smile so lovely that if you were lucky enough to catch it, your heart would break in two. However, despite the pretty smile, the young woman was not happy. In fact, she was quite sad and sometimes she would just cry and cry and cry. The young woman was a good woman, full of love and consideration for those around her. Nevertheless, the young woman did not have anyone to love or care about her. The young woman was in the middle, yet lived on the outside. The young woman lived inside of a dream...

A great French director (whose name escapes me) once commented that all it takes to make a beautiful film is to have a beautiful woman be it's focus. Simply point the camera at the woman, let the film roll, and the woman's beauty will do the rest. An oversimplified formula perhaps, but one that apparently works, given that you find a truly beautiful woman. But what makes a woman beautiful? A question that cannot be answered definitively of course, but an answer that the camera can find. Besides, the viewer will know. You will see it with your eyes, but feel it in your heart. With Amélie - the new film by French film-maker Jean-Pierre Jeunet, it would appear that Monsieur Jeunet was able to find a truly beautiful woman. Yes, Amélie is a truly beautiful film. Perhaps even one of this year's best.

For lack of better categorization, Amélie could be considered a modern day fairy tale - but a fairy tale which stars an unlikely cast of characters. No perfect princesses, or charming princes here. Instead we are given an introverted, somewhat eccentric young woman as a princess, and an awkward, somewhat eccentric young man as a prince. Amélie and Nino were made to love one another other - they are kindred spirits. And despite never coming into contact with one another until their initial meeting, we understand that Amélie and Nino were meant to be. Jeunet is able to convey this somewhat unsound revelation to the viewer in such a way that we cannot question it's validity. Just as the young child accepts the existence of wizards and dragons in the stories told before bedtime, in Amélie the audience accepts the existence of true love. Even the most cynical viewer will find himself accepting the most "romantic" notions in Amélie. Partly due to Jeunet's unique visual style, but mainly accomplished by Amélie's beauty and charm, the viewer cannot help but let down their down guard to embrace the whimsical and somewhat unbelievable narrative.

But as with every great tale, there exists conflicts and barriers which must be overcome before the "happily ever after". However, instead of sinking to the lowly depths of common melodrama like most American movies, Jeunet provides literal barriers which are both comically and aesthetically amusing. Yet, the true conflict at the heart of the film is one which is not only darker in mood, but one which is also less tangible. Amélie is a woman who lives mostly inside of her head. Forced inwards by events which took place in her childhood, Amélie finds herself in a world of dreams and imagination. Although finding some comfort in her flights of fancy, Amélie is also plagued by the sadness and tragedy which she creates for herself. Sometimes, the greatest conflicts come from within. Sometimes, the greatest villain is oneself. Sometimes, you have to risk getting hurt to find happiness.

I don't know if I even believe in love. I don't know if I have ever been in love. But I do know however, that during the two hours of Amélie, the existence of love found me. Her name you ask? Well, it's Amélie of course.

Tags: Amélie, Audrey Tautou, Jean-Pierre Jeunet

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