REVIEW: DVD Release: He Loves Me, He Loves Me Not

Film: He Loves Me, He Loves Me Not
Year of production: 2002
UK Release date: 28th April 2003
Distributor: Optimum
Certificate: 12
Running time: 92 mins
Director: Laetitia Colombani
Starring: Audrey Tautou, Samuel Le Bihan, Isabelle Carré, Sophie Guillemin, Clément Sibony
Genre: Romance/Thriller
Format: DVD
Country of Production: France
Language: French

Review by: Samuel Clifton

The first feature from French director Laetitia Colombani is also one of compatriot Audrey Tautou's first appearances following her international breakthrough in Jeunet's Amélie. Together they tackle the thorny issue of 'erotomania' in an unconventional love story filled with twists and told in a non-linear narrative.

Matters of the heart abound as cardiologist Dr. Loïc Le Garrec (Brotherhood Of The Wolf's Le Bihan) unwittingly becomes the focus of attention for art student Angélique (Tautou). New neighbours after she begins house-sitting for a family on vacation, Angélique embarks on what she believes to be an affair with the married, expectant father.

Things start innocently enough as she surreptitiously sends the doctor flowers at his office and dedicates works of art to him. The affair soon turns sour, however, when Le Garrec's wife (Carré) suffers a miscarriage and the marriage breaks up. Learning of this, Angélique excitedly plans a trip to Florence with her newly available love. Of course, Angélique's dreams are dashed when Le Garrec leaves her stranded alone at the airport. So begins Angélique's inevitable descent into depression, delusion and obsession..

In quick succession she loses both her job and a prestigious art scholarship. Already at her nadir, Angélique sees a news broadcast telling of Dr. Le Garrec's arrest for the assault of one of his patients. A tumultuous sequence of events quickly unfolds and comes to a head with Angélique's life hanging in the balance.

It's at this point that the story rewinds itself to make a point of divergence when Angélique sends a single rose to Dr. Le Garrec. From here, we see the affair from his perspective and his is a story that differs greatly from the version of events told from Angélique's point of view. Angélique's fragile state of mind is further illuminated by the realisation that events seemingly so important to her were not what they at first appeared to be. In the final passage, Angélique is afforded the opportunity for recovery and redemption but an ominous conclusion suggests that she might not take it…


Writer/director Colombani is possibly her own worst enemy in her début feature. Whilst her examination of the psychological phenomena of 'erotomania' is confidant and daring, her execution is sadly lacking. The problem is that her addition to the 'woman scorned' genre brings little new to the table besides a thin intellectual examination of the psychology of obsession and even this feels a little tacked on. The film consistently tries to be new and unpredictable, but it fails in most of its attempts. For instance, there is a scene within Angélique's half of the film in which she catches Le Garrec in an embrace with his wife. Whilst she is shocked at this discovery, we are not. Colombani's script can't help but hit all the familiar plot points that we've seen time and time again: The fragile, naïve waif who falls for the strong, stern professional; the marriage that breaks down over trauma and mistrust; the inevitable violent conclusion. All are present and correct.

The script's dialogue does feature some memorable moments when you feel a real sense that Colombani has lent an introspective and delicate touch to her film, but these are sadly few and far between. What's more, these genuine moments in the script are negated by Colombani's juvenile visual devices which only serve to betray her youth and inexperience. In the midst of Angélique's downfall, we witness the wilting of a rare plant placed into her care by the family whose house she is sitting. This visual metaphor for life and love dying may have been poignant in Disney's Beauty And The Beast some twenty years ago, but here it just seems trite.

Colombani's lack of originality extends also to the decision to present her début in the popular non-linear style. In Twyker's Run Lola Run, the simple story was greatly enhanced by the replay of a single day's events, whilst Nolan's tale of an amnesiac in Memento necessitated that it was told in reverse. He Loves Me... does not benefit in the same way from using this device. This is partially because it's unnecessary. The revelations unveiled in the second half are not as shocking or surprising as the filmmaker would have us believe. The predictable script cannot bear the weight of suspense that a non-linear narrative carries. More disappointing, however, is the feeling that the film may well have been better without the leap backward. The jump creates a strict dichotomy between the two protagonists that robs the film of any moral or emotional complexity. If the film had unfolded itself in a more straightforward fashion, Angélique's descent into mania may have been more immediately engaging and relatable. As it is, we are given perhaps a little too much objectivity on events. Tellingly, one of the few true moments of pathos in the film only occurs towards its conclusion when Angélique finally gets a kiss from her object of desire. By this point, the non-linear portion of the narrative has already been resolved.

Where Colombani must be commended is in her direction of the cast and their performances. Tautou is admirably committed to her role; especially given stardom must have beckoned following a star turn in Amélie. She lends the best parts of Colombani's script the lightness of touch and introspection it deserves. As the beleaguered Dr. Le Garrec, Le Bihan's understated performance is watchable and believable. Equally, the supporting cast of Carré and Sibony are well measured in their roles as Le Garrec's wife and Angélique's admirer respectively. Credit is also due for the inclusion of Nat King Cole's L.O.V.E. as a recurring musical motif throughout the film. It plays as a soundtrack over a montage of Angélique's supposed moments of happiness with Le Garrec and serves as one of the films truly surprising, humorous and ironic aspects.


Colombani's treatment of the subject of 'erotomania' is undeniably brave and well examined. However, Colombani's final product fails on many counts to avoid the pitfalls of its genre. The script can't help but feel derivative and the direction speaks of someone who's searching for their own distinctive voice. Ironically, it's the peculiarly French sense of detachment from its subject matter that denies the film of any real emotional impact. Some respite is to be found in the excellent cast and their superb reading of the highlights of the script, but the film still struggles to satisfy or leave a lasting impact. SC

REVIEW: DVD Release: Priceless

Film: Priceless
Release date: 13th October 2008
Certificate: 12
Running time: 102 mins
Director: Pierre Salvadori
Starring: Audrey Tautou, Gad Elmaleh, Marie-Christine Adam, Vernon Dobtcheff, Jacques Spiesser
Genre: Comedy/Romance
Studio: Icon
Format: DVD
Country: France

Pierre Salvadori’s 2006 film Priceless (Hors de prix) draws comparisons to Blake Edwards’ 1961 classic, Breakfast at Tiffany’s. This romantic comedy, set amidst the playground of French High Society on the Côte d'Azur, sees a misguided femme fatale pursue a life of wealth, whilst a humble barman pursues a life of love.

Jean (Gad Elmaleh) is a rather shy and well mannered barman at a luxury hotel on the French Riviera, who one night, having been persuaded to have a drink with a guest of the hotel, ends up falling asleep on the bar lounge sofa. To Jean’s surprise, he is later awoken by Irène (Audrey Tautou), a beautiful gold-digger seeking a drink and some fun on her birthday, after her rich, elderly fiancé had passed out in their hotel room.

Jean, a man of few words, apologises for falling asleep on the sofa, but soon realises that Irène has mistakenly assumed him to be a guest of the hotel. Too embarrassed to admit that he works behind the bar, Jean instead opts to try and impress Irène with his panache and care-free demeanour, but soon falls into a lust trap that proves far too difficult to escape from.

Unfortunately for Jean, however, Irène soon discovers that he is penniless, and that having been seen with Jean by her fiancé, she has thrown away her greatest opportunity of a life of wealth and luxury. Irène therefore leaves the hotel immediately, and heads for the Côte d’Azur in search of another wealthy man seeking a high-cost, trophy wife.

Jean, however, has become far too captivated by Irène and her majestic beauty to just let her disappear, and he therefore follows her to the coast, where he uses his life savings trying to satisfy her expensive urges. Ironically, when Jean spends his last euro romantically stirring into Irène’s eyes for a mere ten seconds, he is forced to take on a similar role to that of Irène, as the gigolo to Madeleine (Marie-Christine Adam) the wealthy widow of the hotel.

As Irène works her magic on a lonely, rich man, she spares some time to take Jean under her wing as her gold-digging protégé, providing him with tips on how to get the most out of Madeleine, including a €30,000 watch. The more time the two spend together, though, the more fun they have, and the more difficult it becomes for Irène to detach herself from Jean for the purposes of her selfish pursuit of wealth…


The very nature of the film - as with the genre to which it belongs - lends itself to cliché and predictability, and so for those expecting twists and turns, and a conclusion that offers something a little more original, it is advisable to steer clear. Priceless is just about as obvious as they come, which is in fact not at all to the film’s detriment.

The storyline is one that has been used many times before, and approached in various different fashions over the years. Truman Capote’s 1958 novella Breakfast At Tiffany’s inspired Blake Edwards to produce the on-screen adaptation of the same name, which was unforgettably stylish and charming. The successful elements of that feature – the beautiful and sassy gold-digger; the modest and amiable man, and the wealthy, upper class setting – have been drawn upon by many Hollywood writers, but their attempts to emulate the success of Edwards’ film have been met with very mixed results.

Salvadori, however, is able to take these winning ingredients and infuse them wonderfully to bring about his desired result, which is a quintessentially humorous, yet elegant affair. The base material is of course an advantage, in the sense that it is a tried and tested formula, but making an audience laugh, and selecting actors which will bring the story to life, is still a complicated task.

Casting director Alain Charbit, therefore, is to be given credit for his selection. The number of beautiful, French actresses available is almost limitless, but at the conclusion of Priceless, it would seem almost foolish to have considered anybody but Audrey Tautou for this role. Much like Hepburn, Tautou possesses that natural beauty which justifies a confidence bordering on arrogance. Taotou, though, doesn’t merely look the part, but proves her versatility by producing a fantastically witty, sympathetic and lust-worthy performance.

Tautou’s comic timing, and gift for expressing just about every emotion, makes her perfect for this role. Irène is a more complex character than first meets the eye, and whilst coming across as shallow, immoral and heartless, in fact proves herself to be intelligent, deeply emotive and caring. Portraying such a self-preserving character in this type of feature takes something more than what most comedy actors are capable of, but with the assistance of Elmaleh, Tautou certainly achieves this outcome.

Jean, in stark contrast to Irène, is a coy introvert who possesses no desire to own expensive, material goods or to lead a life of luxury. In fact, Jean’s only real superficial moment is when he immediately falls for Irène, the only explanation for which being that she is so strikingly beautiful. Admirably, Jean’s character remains genuine throughout, and even when he chooses to bleed the lonely Madeleine of her money, his aspirations for doing so are plainly just to keep Irène interested.

Salvadori’s setting for the movie, the Côte d’Azur in the South of France, is a fitting location for such a story. The beautiful views, luxurious hotels and shops established only for the super rich, all reflect what it is that Irène seeks in life. Cleverly, however, Salvadori is also able to use this setting to add another element of humour to the film, and to show that money doesn’t necessarily buy class, personality or happiness. This theme, which is played upon throughout, is essential to the film’s success. It is this truth which the audience will urge Irène to recognise, in the hope that Jean will succeed in his pursuit.


Cliché and predictability ooze from the script, but this a witty, fast-paced and stylish feature nonetheless. Taotou’s classic beauty and flair, combined with Elmaleh’s almost expressionless charm and clumsy demeanour, results in a pleasantly entertaining film. It’s not quite priceless, but it is definitely valuable viewing. TMO

REVIEW: DVD Release: A Very Long Engagement

Film: A Very Long Engagement
Release date: 2nd January 2006
Certificate: 15
Running time: 134 mins
Director: Jean-Pierre Jeunet
Starring: Audrey Tautou, Gaspard Ulliel, Dominique Pinon, Chantal Neuwirth, André Dussollier
Genre: Drama/Mystery/Romance/War
Studio: Warner
Format: DVD
Country: France/USA

Disallowed from becoming a candidate for the Cannes Film Festival, due to it being screened outside of France, and deemed "too American" to receive French subsidies by a Paris court, the release of Jean-Pierre Jeunet's A Very Long Engagement was not without its fair share of controversy.

Combining beautiful cinematography with the backdrop of WWI France, A Very Long Engagement explores the beauty of hope and the absurdity of war. The film begins with the story of five soldiers who are court-martialled for injuries they inflict upon themselves in the hope that they'll be dismissed from service. The five men are sentenced to death and thrown into the no man's land between the French and German trenches.

All five men are reported to have perished, but Mathilde (Audrey Tautou), the fiancée of Manech (Gaspard Ulliel), one of the men sent over the top, refuses to believe this is the case. "If Manech were dead," the narrator explains, "Mathilde would know."

Following her intuition, Mathilde embarks on a quest to find out what became of her beloved fiancée. Talking to survivors and the widows of men killed during the war, she slowly pieces together an intricate puzzle that draws her ever closer to Manech. A Very Long Engagement depicts the lengths an individual is willing to go to for love and the manner in which war destroys the lives of all that come into contact with it…


Jean-Pierre Jeunet has achieved something rather interesting with A Very Long Engagement. The film combines elements of comedy and romance, as seen in Amelie, with some rather serious subject matter. Whilst the film maintains the quirky, comic feel of Jeunet's previous films, it manages to paint an incredibly impressive portrait of the horrors of war.

Some of the film's most visually arresting moments come during the WWI battle scenes, which, whilst offering the odd offbeat, comic moment, give a haunting sense of the absurdity of war. Jeunet uncharacteristically employs the use of some rather gruesome violence, which helps to counteract the otherwise upbeat feel of the film. Sweeping shots capture waves of men racing up over the trenches, only to be met with a continuous spray of bullets from German machine guns. Despite the mix of quirky characters and weirdly wonderful scenes, such as a blimp explosion above a makeshift hospital, Jeunet respectfully handles the subject of war.

As always, Jeunet's characters are unconventional and colourful. The cast deliver impressive performances, clearly helped by the fact that most of them have worked with Jeunet on a number of his previous films. These rounded characters work perfectly with the film's script, which, whilst being simple, is brought to life by the diverse range of characters who inhabit it. From Mathilde's dog-flatulence-loving aunt Bénédicte (Chantal Neuwirth) to the aptly labelled “officer killer,” Tina Lombardi (Marion Cotillard), A Very Long Engagement features an impressive host of wild and wacky characters. Heck, there's even a cameo from actress Jodie Foster, who is surprisingly fluent in French.

Although, there is to be no doubt, as with Jeunet's classic, Amelie, Audrey Tautou steals the show. The film would be nothing without Audrey's vibrant, loveable performance as Mathilde. Audrey draws us in and helps to make Mathilde's quest to find her fiancée a moving and memorable experience. A weak performance from the lead role in A Very Long Engagement would have surely seen the demise of the entire film, but Audrey pulls it off beautifully.

The argument that A Very Long Engagement feels like an American film appears to have some merit. The film's high budget certainly sets it apart from Jeunet's other works, such as Delicatessen (or even Amelie, for that matter), but that is not to say the film's budget negatively effects the quality of the film. A Very Long Engagement retains the style of Jeunet's previous films and, similarly, its success remains indebted to its unique characters. If A Very Long Engagement feels slightly ‘Americanised’ because of its high budget, it certainly isn't to its detriment.


A Very Long Engagement's depiction of the indelible marks that war leaves upon everyone it touches, and its story of one woman's quest to find the man she loves, is thoroughly engaging. It doesn't always feel as memorable and original as some of Jeunet's previous films but it does boast all of the classic quirks associated with a Jeunet film, including memorable performances from its wonderful cast and some truly beautiful imagery. ME

REVIEW: DVD Release: Pot Luck

Film: Pot Luck

Release date: 25th October 2004

Certificate: 15

Running time: 135 mins

Director: Cedric Klapisch
Starring: Romain Duris, Judith Godreche, Audrey Tautou, Cecile De France, Kelly Reilly
Genre: Comedy/Romance/Drama
Studio: Cinefile
Format: DVD
Country: France/Spain

When you’re a recent graduate in the prime of your life, settling down with that special someone and devoting yourself to the monotony of a nine to five is not particularly appealing. So what do you do when faced with such a bleak reality? Move to Spain, of course!

Overwhelmed by the expectations everyone else has for him, Xavier (Romain Duris) finds himself confused and frustrated by his life. With a father pushing him through every door he can possibly open to kick start his career, and a mother who is afraid of letting go of her little boy, a change of scenery may not be a bad idea. What starts out as a tediously necessary study year in Barcelona turns into an exhilarating, self exploratory learning curve.

Floundering in unknown territory, a coincidental run in with French newly weds Anne-Sophie (Judith Godrèche) and Jean-Michel (Xavier De Guillebon) provides Xavier with a lot more than the sanctuary he initially turns to them for.

Dissatisfied with his relationship with manipulative girlfriend Martine (Audrey Tautou), Xavier persuades himself that the distance between them is reason enough to strike up an affair with the desperately lonely Anne-Sophie. Enough excitement for most, this is just the tip of the iceberg for Xavier, who finds himself sharing an apartment with six other students from all over Europe.

Back at the shared apartment, or L’auberge Espagnole, to use the film’s original title, the life Xavier has forged with his flatmates acts more like a catalyst for their spontaneous behaviour, as opposed to the reality check he is craving with regard to his forbidden lover...


Writer and director Cédric Klapisch has taken the angle of light-hearted student drama in his stride with this offering, which is as charming as it is multicultural. Klapisch subtly draws on the subject of European integration, throwing together seven beautiful young people into the same apartment in the name of education on a budget. Along with French Xavier is Belgian Isabelle (Cécile de France, who won the César Award for Most Promising Actress for the role), uptight Brit Wendy (Kelly Reilly), Lars (Christian Pagh) from Denmark, Italian Alessandro (Federico D’Anna), German Tobias (Barnaby Metschurat), and the only native Spaniard, Soledad (Christina Brondo).

Thankfully, the film avoids stereotyped characterisation to drive the narrative of the flatmates’ struggle to coexist in a foreign country, with limited communicative skills alongside their ongoing studies. Instead, and to the credit of Klapisch, the European stereotypes are provided by Wendy’s visiting brother William (Kevin Bishop). Encapsulating the typical ‘Brit abroad’, William manages to upset and get under the feet of everybody in the house within a matter of days. Obliviously insulting with every word he utters, William is slowly accepted by the group, joining them for the rest of shenanigans. At first, it seems that William is merely there to add to the already overflowing pool of eye candy, and the occasional cheap laugh, but his purpose becomes clear as he befriends the others. His initiation period in the house serves to explain and visualise the lessons each of the housemates have had to learn about tolerance and compromise in order to get to their state of discordantly affectionate harmony.

Surprisingly, the diverse ensemble cast isn’t overkill and the group work well together. While there is clearly some talent in the form of Duris, Reilly, De France and Bishop, the addition of Tautou seems unnecessary. Although her character is central to Xavier’s decisions, remaining an important factor in his life right to the very end, the film does not gain anything by having such an internationally well-known actress in that role.

Despite so many languages being featured, Klapisch reminds the audience that this is a French production with Xavier’s narration, which keeps the audience in the loop with his point of view. A device which reinforces the fact that this story is essentially about the growth of Xavier and his journey - the narration would not have been missed.

Stylistically, it is simple but effective. Scenes of bureaucracy are sped up in an attempt to signal Xavier’s indignation with the guidelines he has to follow in order to succeed, while scenes of enjoyment are slowed down and repeated, signalling Xavier’s desire to prolong them.


French cinema for beginners, Pot Luck eases even the most apprehensive viewer into a comfortable balance of reading the subtitles and feasting on the visual simplicity of modest world cinema. Easy on the eye and the mind, it is endearing through and through, even when it shouldn’t be. JHA

REVIEW: DVD Release: Amelie

Film: Amelie
Release date: 15th April 2002
Certificate: 15
Running time: 116 mins
Director: Jean-Pierre Jeunet
Starring: Audrey Tautou, Dominique Pinon,
Genre: Comedy/Romance
Studio: Momentum
Format: DVD
Country: France

Rejected by the Cannes Film Festival for being “uninteresting,” but welcomed by the hearts of the French and Francophile alike, Jean-Pierre Jeunet’s Amelie is a rare exception to the rulebook of foreign cinema. Despite the original setback, the whimsical story of a lonely Parisian waitress has gone on to be nominated for five academy awards and won the Cesar for Best Film.

A departure from Jeunet’s cannibalistic black comedy Delicatessen, Amelie details the life of shy waitress, Amelie Poulain (Tautou), who, rather than drunkenly gallivanting about town every weekend like most girls her age, prefers a simpler existence filled with simple pleasures, such as skimming stones, immersing her hands into sacks of grain and cracking the crust of her crème brulee.

In shock from the death of Princess Diana, Amelie inadvertently discovers a childhood box of treasures belonging to her apartment’s previous tenant and attempts to return it to the original owner. Glowing from her good deed of the day, she is inspired to carry out unselfish acts for family, friends and even strangers. These include the exploits of a garden gnome to awaken her father’s inner globetrotter, seeing for the blind, and an act of revenge towards the local fruit seller causing him to literally go bananas.

Isolated from a young age due to a wrongly diagnosed heart defect, Amelie feels comfortable within her sheltered life yet due to the superhuman responsibility undertaken, she begins to desire the love and friendship of another. However, unbeknownst to Amelie, as she watches the world from the outside looking in, a kindred spirit is observing her actions. Known as ‘the glass man’ due to his brittle bones, Amelie befriends the wise and short fused Mr Dufayel who has painted Renoir’s famous work ‘Le Déjeuner Des Canotiers’ on multiple occasions, yet is never satisfied with the end result. Through his dedication to painting the image perfectly and their own philosophical discussions about the lives of it’s inhabitants, Amelie begins to reassess her life, and gain the courage to speak to quirky photo booth rejects collector, Nino…


With his previous outings containing darker elements, Jeunet’s Amelie is a refreshing take on love, life and friendship, leaving the film to be difficult to label; an aspect that probably contributed to the reasons it wasn’t allowed to enter the Cannes Film Festival. However, this is exactly what makes the film charming and endearing without the sugar coating often added to plots containing elements of romance.

Whilst, to some, the lead character may seem perfect on paper, the combination of Jeunet’s direction and Tautou’s performance provides an honest portrayal of an introvert with the character’s subtle cracks visible to the audience. Audrey Tautou’s quietly moving performance transforms Amelie into someone who is relatable to audiences despite the great lengths she goes to commit acts of kindness for others.

Narrated by the haunting piano of Yann Tierson, the lead character’s loneliness is felt even when surrounded by large groups of people, whereas in contrast, the happier aspects of the soundtrack are what some may perceive as francophone music adhering almost to a stereotype.

Jeunet’s vision of Amelie’s world is dominated by the colours green and red that, although at first puzzling, creates a unique trademark aesthetic that has since been imitated, most famously by the TV series Pushing Daisies. Not that this is a negative aspect of the film - in fact, the effect is quite the opposite, and separates Amelie’s home from the trite tourist hubbub so often associated and portrayed in Parisian set films.


Whilst being quietly and at times daringly comic, Jean-Pierre Jeunet’s Amelie is a film of poignancy, wit and intelligence, yet still keeps a certain amount of simplicity in tact without seeming too pretentious. A film that will have you re-evaluating your own life and relationships, Amelie will be with you long after the end credits have rolled. SR

REVIEW: DVD Release: Amelie

Film: Amelie
Release date: 15th April 2002
Certificate: 15
Running time: 116 mins
Director: Jean-Pierre Jeunet
Starring: Audrey Tautou, Dominique Pinon,
Genre: Comedy/Romance
Studio: Momentum
Format: DVD
Country: France

After a so-so Hollywood detour with Alien: Resurrection, Jean-Pierre Jeunet regained the favour won with such visionary works as Delicatessen and The City Of Lost Children, with this worldwide smash hit.

Amelie Poulain lives a solitary and sheltered childhood with few friends for company. She is educated at home whilst her father works as a doctor, and has precious little time for his only child.

Her mother dies when she is very young and, as a result of her lonely surroundings, Amelie begins to retreat more and more into her own mind for solace, where she spends most of her time in a dream world instead of facing the reality around her.

Years later, in her early twenties, Amelie moves to Paris and starts working as a waitress at the Two Windmills Café. The adult Amelie is an imaginative but introverted young woman, who lives a quiet and isolated life.

After a string of coincidences lead her to find a box hidden in her apartment, she develops an insatiable desire to help others. Due to her introverted nature, she chooses not to help people openly; instead she sets up intricate plans and trails and watches from a distance as they are touched by her actions. But when Amelie finds she is falling in love, she realises that the hardest person to help is herself…


There is more than a touch of fairytale to this charming story, even down to Jeunet’s picturesque portrayal of the city of Paris. But the main credit has to go to Audrey Tautou, who makes the character of Amelie completely her own, depicting the contrastingly innocent and mischievous nature of Amelie perfectly. With this film, she shot to fame not just in France but worldwide, and deservedly so. Given her career and performances since, it seems this role was tailor made, with the depth of perception she brought.

Although the story itself is a fairly simple one, which anybody can relate to and understand, and it is told eloquently and imaginatively. The side storylines of the characters in Amelie’s life – her work colleagues, parents and neighbours – often add comic value without taking away from the focus of the tale. Instead, they provide us with a backdrop to Amelie’s ventures; first as she goes about trying to improve other people’s lives, and later as she turns to seducing one man in particular (Mathieu Kassovitz) in order to enhance her own.

The filmmakers encourage us to pay attention to detail, as it reveals people’s small quirks and habits, which generally go unnoticed by society. Amelie is a firm believer in life’s small pleasures, and she encourages the audience to consider those little things in our life that brighten up our day. As each of the main characters is introduced, the narrative voice-over provides us with titbits of information about the character’s personality, including their ‘likes’ and ‘dislikes’, which help in turn to give us a sense of intimacy, as we begin to understand how these people work. It is that beauty in the small details, even though it may not always be visible to the naked eye that makes this film so precious.

A combination of comedy genius, witty one-liners (“She liked to spread her legs, but only on silk”), a hint of fantasy and a touching sentiment, make this a rare success in the blending of comedy and romance.


Whimsical and life affirming, Amelie is a unique experience which shouldn’t be missed. A rare movie gem. EW