Amélie: Wikis


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French theatrical poster
Directed by Jean-Pierre Jeunet
Produced by Jean-Marc Deschamps
Claudie Ossard
Written by Jean-Pierre Jeunet (scenario)
Guillaume Laurant (dialogue)
Narrated by André Dussollier
Starring Audrey Tautou
Mathieu Kassovitz
Claire Maurier
Isabelle Nanty
Dominique Pinon
Serge Merlin
Jamel Debbouze
Arthus de Pengerne
Maurice Bénichou
Music by Yann Tiersen
Cinematography Bruno Delbonnel
Editing by Jeffery Schneid
Distributed by UGC (France)
Miramax Films (USA)[1]
Release date(s) April 25, 2001 (France)
October 5, 2001 (UK)
November 16, 2001 (USA)
December 21, 2001 (Australia)
Running time 122 minutes
Country France
Language French
Budget €11,400,000[1]
Gross revenue $173,921,954 (worldwide)

Amélie is a 2001 romantic comedy film directed by Jean-Pierre Jeunet. Its original French title is Le Fabuleux Destin d'Amélie Poulain ("The Fabulous Destiny of Amélie Poulain"). Written by Jeunet with Guillaume Laurant, the film is a whimsical depiction of contemporary Parisian life, set in Montmartre. It tells the story of a shy waitress, played by Audrey Tautou, who decides to change the lives of those around her for the better, while struggling with her own isolation. The film was an international co-production between companies in France and Germany.

Amélie won best film at the European Film Awards; it won four César Awards (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards. (See below for other awards and recognition.)



Amélie Poulain is a young woman who has grown up isolated from other children. Raphaël, her taciturn, schizoid ex-Army-doctor father, mistakenly believes that she suffers from a form of hypertension (a mistake resulting from the increase in her heartbeat caused by the rare thrill of physical contact with her father, who only ever touches her during medical check-ups). Amandine, her mother, is a neurotic schoolteacher, who constantly sees to Amélie's education. Amandine dies when Amélie is still a young girl; she is the victim of a freak accident involving a Québécoise woman who commits suicide by jumping off the top of Notre Dame Cathedral and lands on Amélie's mother. Raphaël withdraws even further as a result, and devotes his life to building in the garden a rather eccentric memorial to Amandine, complete with a container of her ashes. Left even more alone, Amélie develops an unusually active imagination.

As a young woman, Amélie is a waitress in The Two Windmills, which is a small Montmartre café, run by a former circus performer. The café is staffed and frequented by a gang of eccentrics. At age 23, having spurned romantic relationships following a few failed efforts, Amélie dedicates her life to simple pleasures, such as dipping her hand into sacks of grain, cracking crème brûlée with a teaspoon, skipping stones across St. Martin's Canal, guessing how many couples in Paris are having an orgasm at one moment, and letting her imagination roam free.

L'épicerie of Monsieur Collignon, Rue des Trois Frères, Paris, used as a film location

Amélie's adventure starts when Princess Diana is pronounced dead. Shocked upon hearing the news of Diana's death on television, Amélie drops a bottle cap, and this loosens a bathroom wall tile. Behind the loose tile, she finds an old metal box of childhood memorabilia hidden by a boy who lived in her apartment decades earlier. Fascinated by this find, she resolves to track down the now adult man who placed it there and return it to him, making a deal with herself in the process: if she finds him and it makes him happy, she will devote her life to bringing happiness to others.

Amélie meets her reclusive neighbour, Raymond Dufayel, a painter who continually repaints Luncheon of the Boating Party (Le Déjeuner des canotiers) by Pierre-Auguste Renoir. He is known as 'the Glass Man' because of his brittle bone condition. With his help, she tracks down the former occupant, and places the box in a phone booth, ringing the number as he passes to lure him there. Upon opening the box, the man, moved to tears, has an epiphany as long-forgotten childhood memories come flooding back. He then finds his way into the same bar as Amelie and begins recounting his tale to anyone who'll listen. On seeing the positive effect she had on him, she resolves from that moment on to do good in the lives of others.

Amélie becomes a secret matchmaker and guardian angel, executing complex but hidden schemes that impact the lives of those around her with subtle, arm's-length manipulation, leading to several sub-plots and episodes. She escorts a blind man to the Metro station, giving him a rich description of the street scenes he passes. She persuades her father to follow his dream of touring the world by stealing his garden gnome and having an air-hostess friend send pictures of it from all over the world. She kindles a romance between a co-worker and one of the customers in the bar. She convinces the unhappy concierge of her building that the husband who abandoned her had in fact sent her a final reconciliatory love letter just before his death. She supports Lucien, the young man who works for Mr. Collignon, the bullying neighbourhood greengrocer; by playing practical jokes on Collignon, she undermines his confidence until he questions his own sanity.

However, while she is looking after others, Mr. Dufayel is observing her and begins a conversation with her about his painting. He has repeatedly painted the same piece because he cannot quite capture the excluded look of the girl drinking a glass of water. They often discuss the meaning of this character, and although it is never explicitly stated, for Dufayel, she comes to represent Amélie and her lonely life. Through their discussions, Amélie is forced to examine her own life and her attraction to a stranger, a quirky young man who collects the discarded photographs of strangers from passport photo booths. When she accidentally bumps into him a second time and realizes she is smitten, she is fortunate to be on the scene to pick up his photo album when he drops it in the street. She discovers his name is Nino Quincampoix, and she plays a cat and mouse game with him around Paris before eventually anonymously returning his treasured album; however, she is too shy to actually approach him, and almost loses hope when, having finally attempted to orchestrate a proper meeting, she misinterprets events when he enters into a conversation with one of her co-workers. It takes Raymond Dufayel's insightful friendship to give her the courage to overcome her shyness and finally meet with Nino, and the two begin a relationship.


The Two Windmills cafe in Montmartre, used as a film location
Le déjeuner des canotiers by French impressionist Pierre-Auguste Renoir. The girl drinking the glass of water in the centre of the picture comes to represent Amélie


In his commentary on the DVD edition, Jeunet explains that he originally wrote the role of Amélie for the British actress Emily Watson; in the original draft, Amélie's father was an Englishman living in London. However, Watson's French was not strong, and when she became unavailable to shoot the film, owing to a conflict with the filming of Gosford Park, Jeunet rewrote the screenplay for a French actress. Audrey Tautou was the first actress he auditioned having seen her on the poster for Venus Beauty Institute.

The filmmakers made use of computer-generated imagery and a digital intermediate.[2]

The studio scenes were filmed in the Coloneum Studio in Cologne (Germany).

Distribution and responses

The film was released in France, Belgium, and French-speaking western Switzerland in April 2001, with subsequent screenings at various film festivals followed by releases around the world. It received limited releases in North America, the UK and Australasia later in 2001.


The film was a critical and commercial success, but it was attacked by critic Serge Kaganski of les Inrockuptibles for its depiction of a largely unrealistic and picturesque vision of contemporary French society, a postcard universe of a bygone France with few ethnic minorities. If the director was trying to create an idyllic vision of a perfect Paris, Kaganski argued, he seemed to think that it was necessary to remove nearly all black people from the scene in order to do so.[3] Jeunet dismissed such criticism by pointing out both that the photo collection contains pictures of many different people from numerous ethnic backgrounds, and that Jamel Debbouze, who plays Lucien, is of Moroccan descent.

Cannes rejection

Cannes Film Festival selector Gilles Jacob described Amélie as "uninteresting", and therefore it was not screened at the festival, although the version he viewed was an early cut without music. The absence of Amélie at the festival caused something of a controversy because of the warm welcome by the French media and audience in contrast with the reaction of the selector.[4]

Awards and honors

The film was a critical and box office success, gaining wide play internationally as well. It was nominated for five Academy Awards:

In 2001 it won several awards at the European Film Awards, including the Best Film award.

It also won the People's Choice award at the Toronto International Film Festival and the Crystal Globe Award at the Karlovy Vary International Film Festival.

In 2002, in France, it won the César Award for Best Film, Best Director, Best Music and Best Production Design.

The film was selected by The New York Times as one of "The Best 1,000 Movies Ever Made."[5]

Entertainment Weekly named the film poster one of the best on its list of the top 25 film posters in the past 25 years.[6] It also named Amélie setting up a wild goose chase for her beloved Nino all through Paris as #9 on its list of top 25 Romantic Gestures.[7]


The soundtrack to Amélie was composed by Yann Tiersen.

Track listing

Translation differences

In the English subtitled version, the concierge, Madeleine Wallace, is renamed Madeleine Wells in order to maintain a joke in the screenplay: in the original French, she mentions that she is destined to cry because her name is Madeleine, and goes on to refer to the French expression "pleurer comme une Madeleine" (a reference to the tears cried by Mary Magdalen). Her surname, Wallace, is compared with the Wallace fountains of Paris, continuing the crying theme. The English version retains the mention of Mary Magdalen but alters the joke with the surname, as the phrase "to well up" means to cry. In the English subtitled version, the concierge, Madeleine Wallace, remarks that her husband ran off to Panama. However, in the original French version, her husband runs off to the Pampas.

In the Region 1 English subtitled DVD when Amélie orders Nino to look at 'page 51' of his scrapbook, the subtitle erroneously reads 'Page St.', likely due to the OCR process for conversion. This mistake does not appear on U.S. television sets programmed to display closed captioning.

In the Region 1 English subtitles, Amélie says "But I hate it in old movies, when drivers don't watch the road"; but the French dialogue in fact means "But I hate it in old American films when the drivers don't watch the road." This distinction, however, remains in the Region 2 English subtitling.


The film has inspired many lesser-recognized works in the years following its release. Lasses's Monuments novel contains a reference to Amélie. The 2006 film Paris, je t'aime features a picture of Amélie's mischievous smile in the short film Porte de Choisy. In this short film, a man enters a beauty salon attempting to sell beauty products. The owner of the shop wants the man to give hairstyling a try, and one of the noticeable hairstyles was Tautou's Amélie.

For the 2007 television show Pushing Daisies, a "quirky fairy tale," ABC deliberately sought an Amélie feel, with the same chords of "whimsy and spirit and magic." Pushing Daisies director Bryan Fuller acknowledges Amélie is his favorite film. "All the things I love are represented in that movie," he said. "It's a movie that will make me cry based on kindness as opposed to sadness." Because of this, The New York Times' review of Pushing Daisies reported "the 'Amélie' influence on 'Pushing Daisies' is everywhere..."[8]

A recently discovered new species of frog was named as Cochranella amelie in honor of the film's protagonist.[9] A significant honor in the academic world, the scientist that described the new species stated: "The name of this new species of Glassfrog is for Amelie, protagonist of the extraordinary movie "Le Fabuleux Destin d'Amélie Poulain"; a movie where little details play an important role in the achievement of joie de vivre; like the important role that Glassfrogs and all amphibians and reptiles play in the health of our planet".[10] This new species was described in the scientific journal Zootaxa ([1]) in an article entitled "An enigmatic new species of Glassfrog (Amphibia: Anura: Centrolenidae) from the Amazonian Andean slopes of Ecuador" ([2])

Amélie's scheme involving her father's garden gnome is an example of the "travelling gnome prank", which is based on real life occurrences since the 1980s, and also appeared in the British soap opera Coronation Street.[11] Some journalists have regarded Amélie as the inspiration for more recent cases of the prank. The Traveling Gnome has also inspired the Travelocity "Roaming Gnome" commercials.[12][13][14]


The film has no overall worldwide distributor, but has been released in Canada and Australia. The first release occurred in Canada in September 2008 by TVA Films. This version did not contain any English subtitles and received criticisms regarding picture quality.[15] In November 2009, an Australian release occurred. This time the version contained English subtitles and features no region coding.[16]

See also


  1. ^ a b Fabuleux destin d'Amélie Poulain, Le at the Internet Movie Database
  2. ^
  3. ^ Film Comment
  4. ^ Jean-Pierre Jeunet | The A.V. Club
  5. ^ The Best 1,000 Movies Ever Made - Reviews - Movies - New York Times
  6. ^,,20207076_20207387_20207597,00.html
  7. ^,,20207076_20207387_20207406,00.html
  8. ^ Bill Carter (July 5, 2007). "A Touching Romance, if They Just Don't Touch". The New York Times. 
  9. ^ Noticias Biodiversidad / Biodiversity News: Cochranella amelie sp. nov
  10. ^
  11. ^ Genevieve Rajewski (January 30, 2004). "Roaming gnomes in the news again". The Christian Science Monitor. Retrieved 2008-08-17. 
  12. ^ Stephen Adams; and Richard Savill (August 11, 2008). "Gnome returned after worldwide tour". Retrieved 2008-08-12. 
  13. ^ Chris Green (August 12, 2008). "How Murphy the stupid gnome went around the world in 48 photographs". Retrieved 2008-08-12. 
  14. ^ Craig Adams (August 12, 2008). "Home at last, Murphy the garden gnome who conquered the world". The Scotsman. Retrieved 2008-08-12. 
  15. ^
  16. ^

External links

Preceded by
The Taste of Others
César Award for Best Film
Succeeded by
The Pianist
Preceded by
Dancer in the Dark
European Film Award for Best European Film
Succeeded by
Talk to Her
Preceded by
Dancer in the Dark
Goya Award for Best European Film
Succeeded by
The Pianist


Up to date as of January 14, 2010

From Wikiquote

Amélie (aka Le fabuleux destin d'Amélie Poulain, or The Fabulous Destiny of Amélie Poulain) is a 2001 French comedy film.

Written by Jean-Pierre Jeunet and Guillaume Laurant. Directed by Jean-Pierre Jeunet.
She'll change your life.


Amélie Poulain

  • It's better to help people than garden gnomes.
  • I had two heart attacks, an abortion, did crack... while I was pregnant. Other than that, I'm fine. [to her father, who is not paying attention]
  • ... Je n'aime pas dans les vieux films américains quand les conducteurs ne regardent pas la route.
    • [whispering in theater] I like to look for things no one else catches. I hate the way drivers never look at the road in old American movies.
  • Vous au moins, vous ne risquez pas d'être un légume, puisque même un artichaut a du cœur.
    • At least you'll never be a vegetable — even artichokes have hearts.


  • Sans toi, les émotions d'aujourd'hui ne seraient que la peau morte des émotions d'autrefois.
    • Without you today's emotions would be the scurf of yesterday's
  • Et de ratage en ratage, on s'habitue à ne jamais dépasser le stade du brouillon. La vie n'est que l'interminable répétition d'une représentation qui n'aura jamais lieu.
    • Failure teaches us that life is but a draft, an endless rehearsal of a show that will never play.

Raymond Dufayel

  • Voilà, ma petite Amélie, vous n'avez pas des os en verre. Vous pouvez vous cogner à la vie. Si vous laissez passer cette chance, alors avec le temps, c'est votre cœur qui va devenir aussi sec et cassant que mon squelette. Alors, allez y, nom d'un chien!
    • So, little Amelie, your bones aren't made of glass. You can take life's knocks. If you let this chance go by, eventually your heart will become as dry and brittle as my skeleton. So... Go and get him, for pete's sake!


  • In the apartment downstairs from Amélie lives Raymond Dufayel; they call him "The Glass Man." He was born with bones as brittle as crystal. All his furniture is padded. A handshake could crush his fingers. He's stayed inside for twenty years. Time has changed nothing.
  • Nino is late. Amelie can only see two explanations. 1 - he didn't get the photo. 2 - before he could assemble it, a gang of bank robbers took him hostage. The cops gave chase. They got away... but he caused a crash. When he came to, he'd lost his memory. An ex-con picked him up, mistook him for a fugitive, and shipped him to Istanbul. There he met some Afghan raiders who took him to steal some Russian warheads. But their truck hit a mine in Tajikistan. He survived, took to the hills, and became a Mujaheddin. [Increasingly angry] Amelie refuses to get upset for a guy who'll eat borscht all his life in a hat like a tea cozy.
  • In such a dead world, Amelie prefers to dream until she's old enough to leave home
  • Amelie still seeks solitude. She amuses herself with silly questions about the world below... such as, "how many couples are having an orgasm right now?"

[shots of several couples having an orgasm] Amelie: "Fifteen!"


  • Eva: Les temps sont durs pour les rêveurs.
    • Times are hard for dreamers.
  • Newsstand Woman: Une femme sans amour, c'est comme une fleur sans soleil, ça dépérit.
    • A woman without love wilts like a flower without the sun.
  • Little boy: Quand le doigt montre le ciel, l' imbécile regarde le doigt
    • When a finger is pointing up to the sky, only a fool looks at the finger.


  • [Mme. Wallace is reading an old letter from her long-deceased husband.]
    Mme. Wallace: "When my sweet little weasel appears at the station…" Did anyone ever write you like that?
    Amélie: No. I'm nobody's little weasel [Je ne suis la belette de personne].


External links

Wikipedia has an article about:


Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary

See also Amelie


Proper noun

Amélie f.

  1. A female given name, cognate to Amelia.

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