The familiar sound of an accordion, the clatter of silverware on a Parisian bistro table, and the voice of André Dussollier narrating an enchanting story – these are the hallmarks of the universe created by ‘Amelie.’ Released in 2001, this independent French film by director Jean-Pierre Jeunet became a global phenomenon, defying expectations and capturing the hearts of audiences worldwide. Even today, the film continues to enchant viewers with its whimsical charm and captivating storytelling.
Although it didn’t receive any nominations at Cannes or Oscars, the film garnered five nominations, including ‘Best Foreign Film,’ and was met with critical acclaim. ‘Amelie’ boasts over 32.4 million admissions worldwide, with 23 million coming from international audiences.
When we think of Amelie Poulain, the image that instantly springs to mind is Audrey Tautou’s mischievous smile, porcelain skin, and raven hair that evokes a sense of fairytale innocence. But she wasn’t the director’s first choice for the role. Initially envisioned for British actress Emily Watson, the script underwent a significant transformation due to scheduling conflicts and Watson’s limited French proficiency. This paved the way for Audrey Tautou, who had impressed Jeunet with her performance in the 1999 film ‘Venus Beauty (Institute).’ The director, captivated by Tautou’s charisma, cast her after a mere three-second audition, launching her career to new heights.
‘Amelie’ marked a transitional period in cinema, where filmmakers were exploring and embracing new technological tools. Jeunet embraced the possibilities of digital saturation to recreate the vibrant microcosm of Parisian life, drawing inspiration from a retro vision of Montmartre and the works of Brazilian artist Juarez Machado. He admitted in a 2018 interview with Premiere magazine: “Amelie was the first film graded digitally. It was an open door, we could do anything we wanted with the colors. […] Today, it seems a little too much, I would tone down the colors, it’s almost aggressive, but at the time we didn’t want to hold back, we went very far in the colorization.”
For those seeking a piece of ‘Amelie’ magic, a visit to Montmartre is a must. Walk along Rue Lepic, Rue des Trois Frères, and stop by the Gare de l’Est. The Cafe des 2 Moulins, where Amelie works as a waitress, is a real-life establishment where you can enjoy a moment of poetic ambiance.
Jeunet, accustomed to shooting primarily in interiors, faced a significant challenge – eliminating all the billboards and advertisements that marred the streets, transforming them into the vintage world of the film.
While working on the science fiction film ‘Alien Resurrection,’ Jeunet experienced a profound longing for home – specifically, for Montmartre. While the alien project was exciting, it lacked the familiar charm of French cinema and Parisian life. Jeunet openly acknowledged this feeling, stating that he longed to return to France and create “a small film with my friends.” This anecdote is cleverly woven into the film’s trailer, where André Dussollier’s narration playfully introduces ‘Amelie’ as a film in the same vein as the 1997 horror science-fiction film.
The captivating melodies of ‘Amelie’s Waltz’ and ‘Comptine D’un Autre Ete’ resonated with audiences in the early 2000s and continue to evoke nostalgic memories. The film’s soundtrack, composed by Yann Tiersen, is a blend of original compositions and selections from the musician’s previous albums. Jeunet’s intuitive choice to entrust a relatively unknown musician resulted in a triumph. In 2003, the ‘Amelie’ soundtrack, with its evocative piano and accordion melodies, achieved triple platinum status, selling 900,000 units in France alone and 2 million worldwide. It garnered numerous accolades, including a César Award for Best Original Soundtrack in 2002.
