The Fabulous Destiny of Amélie Foal

the Fabulous Destiny of Amélie Poulain is a film French (2001) carried out by Jean-Pierre Jeunet. It is about a romantic Comédie written by Jeunet and Guillaume Laurant with Audrey Tautou in the title role. The film is an original and sometimes idealized representation contemporary life with Paris in the district Montmartre.

Introduction

the Fabulous Destiny of Amélie Poulain tells the history of an young girl who sees her life rocking of the day at the following day, and then decides to devote its life to many others.

Synopsis

Amélie Poulain grows isolated from the other children because its silent doctor of father diagnoses a cardiac disease wrongly to him: his/her father never touched it apart from the medical examinations, from where the racing of its pulse when it measured it. His/her mother who was also neurotic who her father dies whereas it still young person, is crushed accidentally by a Québécoise which commits suicide by throwing top of the Cathédrale Notre-Dame de Paris. His/her father contains himself even more and devotes his life to the construction of a mausoleum maniac devoted to his late wife. Delivered to itself, Amélie develops a surprisingly rich imagination.

When it grows, Amélie becomes waitress in small a coffee of Montmartre, the Café of the 2 Mills, held by a former artist of the Cirque and occupied by employees and high customers colors. To 22 years, Amélie leads a simple life; having given up any sentimental relation after missed attempts, it takes taste with simple pleasures like making crack the burned Crème with a Cuillère, to walk under the sun of Paris, to make rebounds on the Canal Saint Martin's day, to try to guess how much Parisian couples had at every moment a Orgasme (“Fifteen! ”, it launches to the camera) and leaves free course to its imagination.

Its life rocks during the day of dead of the princess Diana. In a sequence of circumstances which follow the shock of the news, she discovers behind a Plinthe loosened her Bathroom an old metal box filled with memories hidden by a boy who lived in his Appartement several decades before her. Fascinated by its discovery, it is put in search to find the trace of the now adult person who had placed the box and to return it to him, while establishing a market with itself: if it finds it and makes it happy, it would devote its life to the good, if not, so much worse.

After some errors and a meticulous work of Detective (helped by the recluse Raymond Dufayel, a painter called the “man of glass” because of a excessive osseous brittleness), it puts the hand on the identity of old occupying of the places, places the box in a Phone box and makes it sound to attract it whereas he passes in the vicinity. When it opens the box, it undergoes a revelation. All its forgotten memories of childhood return to him sudden to the memory. It follows it by far until in a bar and observes it without being discovered. By seeing the positive effects on him, it decides to spread the good in the life of the others. Amélie then becomes a kind of secret intermediary and guardian angel. She persuades her father to continue her dream to make the round the world tour (with the assistance of a Nain of garden and of a friend Airline hostess). She also puts her grain of salt in the life of her friends (and arranges itself so that two of them fall in love), of the caretaker of her building and Lucien, the employee of the brutal owner of the grocer of the corner.

But whereas it deals with the others, nobody deals with it. By helping the others to obtain their happiness, it is put vis-a-vis its solitary own life - made even apparent by its chaotic relations with Nino Quincampoix, a young employee of shifted sex shop which collects the Photo S of identity thrown under the Photomaton S and with which it fell in love. Although it intrigues it with various methods diverted to allure it (of which in particular a kind of hunting for the treasure to recover one of its photo albums lost), it remains terribly timid and is unable to approach it. It must receive the councils of Raymond to understand that one can continue his happiness all while making sure that of his friends and neighbors.

Critical

The film was a critical popular success and but some critical as Serge Kaganski of the Inrockuptibles attacked it for its unrealistic and picturesque representation of the contemporary French company in a universe of postcard of France of formerly with very few ethnic minorities - a form of latent lepenism . Whereas Paris is a cosmopolitan city and that there is just beside Montmartre a district with much of African minorities (Barbès - Rochechouart), very little are visible in film. If the realizer had wished to create an idyllic vision of perfect Paris, it seems that he found necessary to make disappear any trace from colored person to reach that point, justified criticisms. It is interesting to notice that the only time where Africans appear in film, it acts of three individuals in the station behind Amélie in the foreground.

Others, like David Martin-Castelnau and Guillaume Religious bigot, estimated that these criticisms were unjustified and that it was rather about the “bien-pensance liberal-libertarian” which could only reject the benevolent and credible vision “people of modest means”. Jean-Pierre Jeunet answered these criticisms by recalling that Jamel Debbouze which plays the part of Lucien is of North-African origin .

Others as noticed as being given the Gentrification which gallops district of Montmartre, a young waitress as Amélie could not have had financial means to live close to its work place. The film describes an incredible universe where Amélie lives close to its work place (without having recourse to the Parisian subway or any other form of transport) and has much spare time apart from its work. It is a poetic license.

Data sheet

  • Title: the Fabulous Destiny of Amélie Foal
  • Realization: Jean-Pierre Jeunet
  • Scenario: Jean-Pierre Jeunet, Guillaume Laurant
  • Production: Jean-Marc Deschamps
  • Music: Yann Tiersen
    • Photo
  • : Bruno Delbonnel
  • Assembly: Celine Kelepikis
  • Costume: Emma Lebail
  • Country of origin: France (majority), Germany
  • Format: Colors Cinemascope - 2,35:1 and 1,85:1 - its numerical Dolby - 35 mm
  • Kind: comedy
  • Lasted: 129 minutes
  • Comings out date:
  • All public in France, but prohibited with less than 17 years not accompanied in the United States for “sexual contents”

Distribution

Rewards and nominations

The film was selected by the NewYork Times in 1000 best films ever carried out.

Rewards

Nominations (2002)

Video extracts and pictorial quotations used in film

The film uses several video extracts:

  • a televised representation of the singer of Gospel to the guitar sister Rosetta Tharpe
  • an extract of documentary the Born for Hardware Luck of Tom Davenport, showing Sam Jackson with a wooden leg
  • an extract of documentary of 1998 Seventeen Second to Sophie ( Seventeen seconds for Sophie ) of Bill Dimensions
  • Three extracts of the film Jules and Jim of François Truffaut:
    • Jules, Jim and Catherine running on a bridge
    • the “scene of the kiss” during which an insect is, apparently not noticed creators of film, crawling along the screen behind the two in love ones and pretense to enter the mouth of the woman. This passage is detailed by the voice-over and a circle highlights the insect during its voyage.
    • a short extract of Catherine singing her song the Swirl
  • the table which Dufayel paints is '' the Lunch of the rowers '' of Auguste Renoir

Anecdotes

  • the Fabulous destiny of Amélie Poulain was originally called “Amélie of the Abbesses”, but only the Parisian ones knew what was the place of the Abbesses with Montmartre. Jean-Pierre Jeunet then dug the head to find a title. He even thought of baptizing his film the adventurers of the goose flesh ! The title as for him is inspired by the fabulous Destin of Desired Clary of Sacha Guitry (1942).
  • the financial repercussions of Alien IV made it possible Jean-Pierre Jeunet to carry out a free film of very forced commercial. Paradoxically, it had an immense success.
  • In this film, Jeunet reintroduced of the elements of short-measuring Rubbish , in particular them “it aime/il does not like” presentation of the characters.
  • Jean-Pierre Jeunet tells in comments DVD that the idea of the photo album (of the photographs of thrown identities) comes to him from the author French Michel Folco which had held such an album. The right to the intellectual property in France prevented Jeunet from using the aforementioned album, which has constrained it to engage observers (and people of turning) to be taken in these stereotypes
  • In the anglophone countries, the film is known under the title Amélie from Montmartre
  • the film uses synthesized images and intermediaries numerical.
  • Jeunet in the beginning had written the role of Amélie for the British actress Emily Watson; in original script, the father of Amélie is an alive British with London. However, the French of Emily Watson appeared insufficient for film and because of a timetable incompatible with the turning of Gosford Park , Jeunet rewrote script for a French actress.
  • Some think that Jeunet took as a starting point the character of Faye in film of Wong Kar-Wai, Chungking Express (1994), for part of the writing of the character of Amélie Poulain: Faye is introduced into the apartment of the man whom she likes to change the elements, thus hoping to make him forget his/her ex-partner. One finds the topic of a person who is introduced into the life of another to make it happy without her knowledge.
  • the film was not projected with the Cannes festival. Jeunet decided not to present to it because of the bad reception of his preceding film the City of the lost children . The president of then of the festival considered film “uninteresting”, although he had seen only one incomplete version, in particular without music of accompaniment. The absence of Amélie Poulain raised a controversy because of the enthusiastic reception of the public and the French media in comparison.
  • In the english language version, the caretaker Madeleine Wallace is re-elected as a Madeleine Wells. Whereas in the French version, Wallace refers to the fountains Wallace of Paris, the english language version adapts the word game by comparing Wells with toilets wells (well of water).
  • With the Quebec, in 2002-2003, the restaurants McDonald's used, to increase the sale of their new chicken strips, the slogan: " The delicious feast of Emilie Poulet" on billboards. The have-rights of film claimed: 200000 $ of damages for this allusion not - authorized under film.
  • the appearance at the 20th minute of Amélie in the station of Métro of Paris Abbesses (northern of Paris) was actually turned on a unused quay of the station Porte of the Lilacs (is of Paris). Accustomed to film turnings because maintained to the variation of the public, this quay is called besides Porte of the Lilacs - Cinema. And its decoration does not resemble that of the station Abbesses.

References to film:

  • a series of advertizing spots for Groupama (insurance company and finance departments) puts in scene a brown young woman Prénom me Cerise. The style of these publicities (realized by Sebastien Drhey) is an obviously obvious reference to film. The Fondation Groupama Gan had supported the film Delicatessen of Jeunet, but it is undoubtedly without report/ratio.

The film in foreign languages

  • German: Die fabelhafte Welt der Amélie (the fabulous world of Amélie)
    • English
  • : Amélie Montmartre (Amélie Montmartre)
  • Epagnol: Italian Amélie
  • : It favoloso mondo di Amélie (the fabulous world of Amélie)
    • Portuguese
  • : O Fabuloso Destino de Amélie Foal (the Fabulous Destiny of Amélie Foal)

Boxoffice

Many entries (nonexhaustive list; country with more: 100000 entries; alphabetically countries)

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See too

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