Better known as Amelie to UK viewers, this film charmed the world on it's initial release, and it's hard not to fall under the magical spell weaved, even if in po-faced cynical reflection, the film is about two social rejects stalking each other!
But such a critique is to do this film a disfavour. Amelie exudes charm and whimsy from every frame - it lightens the heart and makes one glad that films like this are still possible, in a world awash with cod-epics, torture-porn and other cynical marketing ploys.
Part of the charm comes in the whimsical setting: a sepia-toned Paris recalled from childhood memories, not from reality. It is utterly contrived, but, just like the best Coen Brothers films, you greet the contrivance with open arms and submerge yourself fully into it.
It's hard to think of a film that looks as lovely as this. Every frame is perfectly composed (albeit digitally enhanced) - this is the look and technique that Kurosawa and Kubrick dreamed of achieving, had they had the technology available to Jean-Pierre Jeunet (making a tremendous return to form after clashing with Hollywood on the dire Alien: Resurrection).
The entire cast are a delight - you could quite happily watch a film that centered on anyone of the other cast. A rare feat indeed.
But where this film succeeds most is where so many others would fail: it is kitsch, contrived and emotional, but never slips into being twee, sentimental or fake. That very, very thin line is thankfully never crossed.
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