Dir: Jean-Pierre Jenuet. Cast: AudreyTautou, Mathieu Kassovitz, Dominique Pinon
Apparently this is France’s The Full Monty, a feel good movie and a massive internal success. Bathed in the kind of golden sunlight that you only ever see on film, a seducing tone, and a heart so sweet, only those who actively set out to dislike this film will end up disappointed. And by god, how I wish something this good would be made in Britain, and be welcomed with such appreciative arms by it’s audience. But that just doesn’t seem likely at all.
Jenuet and Marc Caro co-directed Delicatessen and The City of The Lost Children, both darkly superb films (though the latter came in for much criticism, it’s a far more involving drama than Delicatessen in this critic’s view), but this is Jeunet’s first ‘proper’ film as director (we’ll conveniently forget Alien Resurrection and blame it’s disappointing outcome on studio interference). And without Caro by his side he’s produced a far more touching and deliciously sweet movie. By losing the darkness, it’s simply far more appealing and ‘lovable’ a movie than any of his previous works.
The film opens with a brief description of Amelie’s early years, explaining the strange relationship she has with her parents, and by being utterly bizarre but subtly charming, it grabs you instantly. Soon we’re presented with Amelie as a solitary
After she accidentally discovers a lost box of a former tenants childhood momento’s in her apartment, she seeks out it’s owner, and spurred on by the success of her good deed, vows to continue anonymously helping friends, family and strangers. But when Amelie finds a photo album made of pictures discarded from station photobooths, she begins to realise that she too has problems, and her self-imposed solitude may not be the right way to live.
It’s watching her selflessly help others and take such delight in it, the mix of magic realism and Jeunet’s gentle playing with cinematic conventions, and ultimately, that smile, which seduced me oh so well. Her world is such a pure, kind place, that it’s a joy to spend two hours in it – though, as the ending suggests, perhaps not a lifetime.
Okay, so you could make a few complaints - perhaps the film could be ten minutes or so shortened in it’s middle section, and some might say that Jeunet is too self-indulgent at times, but those whose hearts aren’t softened by the undoubtedly kind heart at the centre of this film, and react cynically to this rare piece of original cinema, should be pitied. Everyone else should tell friends, family and strangers to see it now.
Alex Finch.
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