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Germany, France
Fantasy, Romance, Comedy
IMDB rating:
Jean-Pierre Jeunet
Audrey Tautou as Amélie Poulain
Mathieu Kassovitz as Nino Quincampoix
Rufus as Raphaël Poulain
Lorella Cravotta as Amandine Poulain
Serge Merlin as Raymond Dufayel
Jamel Debbouze as Lucien
Claire Maurier as Madame Suzanne - la patronne du café
Isabelle Nanty as Georgette
Dominique Pinon as Joseph
Artus de Penguern as Hipolito
Yolande Moreau as Madeleine Wallace
Urbain Cancelier as Collignon
Maurice Bénichou as Dominique Bretodeau
Storyline: Amélie is a story about a girl named Amélie whose childhood was suppressed by her Father's mistaken concerns of a heart defect. With these concerns Amélie gets hardly any real life contact with other people. This leads Amélie to resort to her own fantastical world and dreams of love and beauty. She later on becomes a young woman and moves to the central part of Paris as a waitress. After finding a lost treasure belonging to the former occupant of her apartment, she decides to return it to him. After seeing his reaction and his new found perspective - she decides to devote her life to the people around her. Such as, her father who is obsessed with his garden-gnome, a failed writer, a hypochondriac, a man who stalks his ex girlfriends, the "ghost", a suppressed young soul, the love of her life and a man whose bones are as brittle as glass. But after consuming herself with these escapades - she finds out that she is disregarding her own life and damaging her quest for love. Amélie then ...
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A smug-faced Parisian pixie with a tenuous grasp of reality decides she is going to influence other people's lives whether they like it or not. Amelie has got to be one of the most annoying characters in recent cinema. She is mousy, meddlesome, mean, and manipulative - and these characteristics are supposed to make her lovable. The film operates under the concept that quirky equals charming. The narration is supposed to be cute and funny, but is grating instead. The plot rambles on pointlessly. The director repeatedly uses zooms and weird sound effects to convey some sort of whimsical film-making but manages to simply be distracting. It's unbelievable that this won an Oscar.
Amélie changed my perspective towards LIFE....
There comes a movie in your life that just grows on you and, eventually, becomes something more. Amélie is one of those movies.

After having watched it on my telly, I realized this is one of my favorite movies of all time. It is so personal, so enriching, so playful and yet, so sweet that I can't help but fall in love with Amélie. To me, it seemed a movie capable of inspiring someone to feel good about their life, no matter whatever trouble they are in. During the whole course of the movie, one thing that no one will fail to notice is the sheer importance of imagination and fantasy in one's life and how it makes everything so interesting around us. Amélie lives in an apartment in Montmartre and earns her living by working as a waitress for Café des 2 Moulins. This is another aspect of the movie, where we are left wondering how can she manage to live in her apartment on the meager income of a waitress?! This is yet another instance of the fabulous life of Amélie Poulain, I guess, dripping and soaking in fantasy ever so amazingly and beautifully.

The colors of the movie are very beautiful; with red, green and yellow catching your eye. The acting is excellent and I can imagine no one capable of portraying Amelie better than Audrey Tautou; she is just PERFECT. She IS Amélie. Jean-Pierre Jeunet created a masterpiece here; a story so pure to its very core and the directing just exceptional.

I LOVE the way Amélie lives her life and how she imagines herself, and the people around her, in a ridiculous and yet, completely interesting way. I LOVE the way she decides to and improves the life of the people around her helping them in the most ingenious way anyone could imagine. The love affair between Amélie and Nino has to be the one of the most special relationships captured in a movie and it oozes romantic vibes that will make you want to fall in love. The scenes where she wept, I wanted to hug her and console her. The scenes where she was mischievous, I wanted to join her.

To be honest, I was falling in LOVE with her. I wanted to be a part of her magical world. And when the movie ended, the feeling I went through could be most closely associated with the feeling one gets when one departs from a best friend.

This World needs a lot of Amélies to appreciate its surreal beauty rather than its materiality.
A reminder of life's ability to surprise us
Aside from You Can Count on Me, this is the best movie I've seen in over a year, and one of the best I've seen in any year. It is a movie so charming and intelligent and sweet that like many of the other people who have written reviews, I feel compelled to see it again, only two days after my first viewing. It has so many layers, all of them complex and worthy of much thought--it is a Valentine to everyone who wants to believe that good things will continue to happen to them, in spite of the troubling times we're living in and have been living in, though perhaps more obviously now than at any other time in recent history. It is a testament to human kindness and its ability to change the face of the world. But aside from the possibility it will make you feel hopeful about the future of your life, it's just so funny and surprising, and the element of surprise is something many movies lack these days, much to their (and our) detriment.

Jeunet and all of his actors and producers deserve to be praised and admired wildly, and I'm more than willing to do this here and with everyone I know--I'm urging them to see this movie immediately.
Heart-warming and unique!!
I fell in love with "Amelie" from the first minute, from the first second of the movie.

A totally captivating, intriguing and innocent film...colorful and bright,unusual,unique,imaginative and magical, so so sweet like honey and so romantic...

It's a film for all the dreamers all over the world...

So heart-warming,shows how the world can be changed by little random acts of kindness... Some times the smallest things can make a big difference...

And what a wonderful dreamy music by Yenn Tiersen!!!

The first time i watched "Amelie" was almost 10years ago! Since then, i have watched it over and over again many times,without getting bored... Whenever i feel lonely or down it warms my soul...

Watch it with your heart wide open!!!
Over rated chick flick sell out
Being a French film it's more interesting and stylish than the standard Hollywood equivalent - but ultimately this is still just a chick flick. As men, and possibly even women with culture, will know, this is therefore a film to avoid. It is disappointing that the director of the superb, unique French films "The City of Lost Children" and "Delicatessen" sold out to a genre favoured by the simple-minded masses. 6/10.

I must point out that Audrey Tautou is very cute, so if your girlfriend blackmails you into watching Amelie, that small consolation might help you through (don't expect any titillation though, despite the certification).
Amelie: 7/10
If you've ever done something good for someone else just for the fun of it, then you can easily relate to Amèlie, the main character in Amèlie. She's innocent, naïve, and shy. But she finds an old box of `treasures' hidden in her flat and decides to return it to the boy who left it there fifty years ago. The `boy' is Bretodeau (Maurice Bénichou), and Amèlie (Audrey Tautou) decides that if Bretodeau is glad, then she will continue to do good deeds for those around her. He is ecstatic, so Amèlie keeps her end of the deal.

Amèlie is sweetly touching, but goes for the low-key effect and really does feel like a foreign film. A lot of times, I forget during the course and it seems like the actors are saying the subtitled English words. Not this time. I'm thinking of Run Lola Run in specific. That seemed to be a quality American film (haha, right?).

Amèlie decides to return a photo album to Nino (Mathieu Kassovitz). She completes her deed but ends up falling in love (surprise surprise). When Amèlie was delivering the album to Nino (and other times), I was surprised on how complex her schemes were. She didn't explode with talent like that throughout the film, so it surprised me.

Tautou is very good as Amèlie, I love her smile. She displayed emotions very well. Kassovitz was also fabulous; people like that need to get more work that comes out here in the U.S. Everyone else involved in the picture is very gifted (including Rufus, who plays Amèlie's father) and talented. Pictures like this don't come out very often.

Movies like Amèlie are sure to be crowd-pleasers. Which it is. Its crowd-pleasing attitude was taken with a little arrogance, but it still managed to keep a goofy smile on your face for 122 minutes. Speaking of the runtime, I found it very hard to sit through, for some reason. I enjoyed all of it, but seemed unnecessary. If one of the subplots about Amèlie's escapades were taken out, it would have been better.

It also had a good amount of humor. I loved the beginning, when we learn about Amèlie's childhood, and we learn what everyone's likes and dislikes were. It seemed ridiculous yet true. Some of the humor, and the whole movie, faltered during the last hour-the rather quick pace of the first hour slowed down a lot and brought down my experience of the film.

Amèlie is a gentle yet entertaining non-Hollywood film that's a sure crowd-pleaser.

My rating: 7/10

Rated R for sexual situations.
Wordly cynicism be damned
Many, many people reflect on this film and find it fluffy, cartoonish, and wildly unrealistic. While the fact that this is mainly an emotional film (as all good films are) necessitates a certain degree of hyperbole, I disagree that it is all that unrealistic and charge that Amelie's detractors are those who are unrealistic. The simple, undeniable truth of this film IS the only simple, undeniable truth: that of human emotion. Amelie is a person unable to separate how she feels about the world from how she interacts with it. This translates into behavior which is often brave, sometimes crazy, and always lovable. In this sense, then, Amelie is not a superhuman or a saint (for she is also painfully aware of her shortcomings and petty vanities), but a person who has the courage to actually be herself and let her emotions, no matter how fanciful or "unrealistic" they may be, shape her world and the world of the others around her. Simply put, every single person could be Amelie if he or she wanted to, except for our cynical and bitter insistence that people like Amelie don't exist.

The main conflict, of course, comes when Amelie falters and cannot allow herself to follow through in this fashion in pursuing her own true love. Truly, if ever the dangers of worldly cynicism (or "realism" as we are fond of calling it these days) have been shown more accurately in a film, I would love to see that film.

So, if the above description appeals to you, you will love the film. If it doesn't, then you need to see it even more- the message is there not for the romantics who believed in this stuff all along, but for the cynics who maintain against all evidence to the contrary that the world is a rational place.
It's my favorite movie of all time...
Short analysis on Jean-Pierre Jeunet's Le fabuleux destin d'Amélie Poulain

For 20 years Jean-Pierre Jeunet collected small astonishing and intriguing moments in his life, taking notes in his diary, not knowing that he was up to co-write and direct one of the most successful film in French film history. Jean-Pierre Jeunet fell in love with the story and the film he titled Le fabuleux destin d'Amélie Poulain. But it's popularity was even a surprise to Jean-Pierre Jeunet himself as he once stated: `I guess I have to produce a film like Alien Resurrection (USA 1997) to make a movie like Le fabuleux destin d'Amélie Poulain', obviously not aware of the films potential. Unfortunately the film didn't win an Academy Award for the best foreign film in 2001 which still puzzles film fans all over the world.

I consider Jean-Pierre Jeunet's film as a masterpiece. In my opinion, it is an outstanding film in film history for its cinematography, the music, the story, but above all the overall atmosphere. Going to the cinema is like meditating. We sit for over one-hour and comfortable chair - our breath slows down and as the lights are switched off, we enter a dream world. We seek to escape our normal world just for a short period of time, to experience something totally different and yet, we want to find ourselves in this world. Thanks to Jean-Pierre Jeunet I had a wonderful dream, I will never forget.

Jean-Pierre Jeunet and his camera man, Bruno Delbonnel, wanted to make the film look like the Spanish painter did his artwork. To establish a dreamlike atmosphere they used mostly red and green, sometimes adding a little blue spot in the picture to set the contrast. Audrey Tautou (Amélie Poulain), mostly wears either red or green dresses, as well as the housekeeper (Yolande Moreau as Madelaine Wallace, concierge), and Amélie's mother (Lorella Cravotta as Amandine Poulin) in the beginning of the film. When Amélie Poulain sits down to watch the tragedy of her life on her TV, there is an outstanding of a blue lamp in the background. Sometimes the use of color gets very obvious. Amélie's apartment for example is almost completely red, the underground station and the train station are kept in green and the green grocery store stands out from the grey buildings. Honestly, I haven't noticed the extreme use of color the first time I watched the movie. I just wondered how Jeunet succeeded in establishing such a fabulous atmosphere.

The atmosphere is also supported by the magnificent music by Yann Tiersen who has composed 19 songs in 15 days for this movie. The principal motive appears in many variations somehow being joyful, yet at the same time sad - slow and sometimes fast and activating. The music supports every moment in the film and becomes the sound of a fabulous world.

Camera movement certainly contributes its part to the atmosphere. Balanced and unbalanced pictures contribute to the message of each shot. Right in the beginning when Amélie's mother is introduced, the picture is balanced symbolizing her pursuit for correctness and cleanliness. The same can be about the first shots of Amélie's father. When talking about his dislikes, the shots are unbalanced. But more impressing are some camera movements. For example there is an astonishing high angle shot of Amélie flipping stones on le canal in Paris. The camera shows her leaning on a fence, flying above her head then craning to a low angle shot to show her flipping stones in the direction of the camera. Another one worth mentioning might be the chase of the repairs person. Nino is shown falling up the steps chasing the repairs person for the photo machines. The camera turns to show the man getting in the car driving off. Still in a low angle Nino starts his moped, trying to follow the worker, almost hitting a car. Amélie is entering the picture running after Nino. The camera follows her, then turning almost 180° around her to show her hold Nino's red bag that he lost. When Amélie sits in front of the station, we see her in a long shot, the camera dollies in to fly over her head to an over-the-shoulder shot. Some of these camera movements are really awesome, not only from a technical point of view, but moreover from an aesthetic standpoint. They support the dreamlike atmosphere, adding interesting aspects to ordinary actions.

Audrey Tautou at the age of 23 is an astonishing actress. I really can't imagine anybody doing the job better than she did. To me she is not only giving life to the character, she lives it. It's wonderful to watch her. There was no moment when I had the faintest impression that there is something wrong or inappropriate in her acting. Also Mathieu Kassovitz as Nino Quincampoix is extraordinarily gifted with his talent. Most of the actors have done a wonderful job, although I want to mention the scene when Amélie's mother gets her nervous breakdown because of the suicidal fish. This scene appeared to me exaggerated which it probably was intended to be. Anyhow, the extreme close-up of Yolande Moreau was to intriguing to me, so I shrug back in disgust rather than laughing about it. I gues this was the director's choice, so I don't hold her responsible for that.

Another negative and distracting thing where some scenes when Jean-Pierre Jeunet decided to show the key in Amélie's pocket after copying it and bringing the original key back to the grocer's door in a very unrealistic way. He uses a digital effet showing the key's silhouette in a yellow light. This is a technique that hasn't been used very often in the film, except for showing Amélie's heart going faster and the old, blind man feeling very happy after being guided by Amélie. All these scenes disturb the otherwise wonderful cinematography. There could have been other ways to communicate the actions. A simple smile on the old's man face, a close-up of Amélie's hand letting the copied key slide into her pocket and the heart beat as a background sound would have done the same without disturbing the atmosphere.

Anyway, Le fabuleux destin d'Amélie Poulain is still my favorite movie. The narration is perfectly arranged taking its time to tell every detail. I enjoyed the subplots a lot that are told in a subtle way. Maybe the introduction is a bit to long, but still I enjoyed every second. Maybe I am too used to typical Hollywood productions, where you can tell the stages of a story by watching the clock. Le fabuleux destin d'Amélie Poulain has its own rhythm driving the story forward not by a superhero trying to achieve his goal, but by a hero that knows that she has time to arrange everything by strategic means. Maybe that is also one reason why I like this film so much. The story is told with time and not against time. There is no last minute-rescue, no time pressure, no need to act. It just takes its time as life does.

In my opinion, Jean-Pierre Jeunet created a masterpiece. A film that is not only outstanding because of the cinematography, the special effects or any other technical characteristics, but also combines the perfection of craftsmanship with a wonderful story, humour, and emotion.

a contemporary Jules et Jim in tone and atmosphere

Amelie's matter-of-fact voice-over, alternating fluid observations with absurd yet simple statements, is so typical of the best French movies. It is a method used in a lot of their best romantic dramas and romantic comedies and creates a breezy, spontaneous flow to the movie. French romances are indebted to classics like Max Ophuls' La Ronde and Francois Truffaut's Jules et Jim for this ingenious device. It then allows the movie to sail forth with uninhibited joy, freshness and surprise.

I believe the French make the best romantic and feelgood movies. Hollywood's artificial, contrived attempts to create films of this type pale in comparison. They could learn a lot by looking at the way the French make these films. The audience is allowed to get more emotive, more involved because they are intrigued to see what will happen next. There is no rigid structure with films like Amelie. They are just allowed to drift blithely and sublimely like a balloon happily floating through the sky. The Americans, by comparison, use helium balloons.

There are also complaints by people saying Amelie was too long. I for one was sad when it ended. I really regretted it when the subtitles came up. I do not know how anyone can get bored of such a riveting, fast-paced, consistently imaginative, life-affirming romantic comedy as Amelie. It leaves you feeling happy and at one with life when you leave the cinema. It makes you appreciate beauty, love, happiness, and the generosity of the human spirit. It just celebrates humanity in its joyous, inimitable French style.

If you love this movie then it is worth going out to get Jules et Jim, a truly sublime yet slightly more serious French romance.
Too Strange
This movie I watched for a few minutes and well, the unexpected plot, cartoon type characters, I was sort of caught off guard. From the start I found the Amelie character, in some ways criminal. Even her devious look on the cover shot I wonder, maybe she would have worked in a Bugs Bunny cartoon as the girlfriend of Wile E. Coyote. Not to be malicious just this movie was so odd. It seems so many people like this movie and for the life of me I cannot understand why. People I've read who like the movie there is a strange correlation to hash usage. To me this makes me wonder if I should stat smoking hash. Well the state I live in has very strict laws and guess that is not a viable option.
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