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Buy Le fabuleux destin d'Amélie Poulain 2001 Movie Online 1080p, 720p, BRrip and MOV
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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Am I the only one who sees darker implications here?
Everyone thinks this movie is so, um....sweet. I thought the sweetness was forced and deliberately so. Amelie skips along the surface of the world, doing good deeds to strangers whom she cannot even face or talk to. When she falls for a guy, she can't even talk to him. The whole thrust of the movie I took to be that Amelie needs to wake up from a dream world and she does so at the end, with its implications of sexuality. To really love someone is dangerous in this movie, as in the world: look at the man in the cafe who is frankly stalking his former girlfriend. His possesiveness ends up ruining his budding romance with the hypochondriac. This is the dangerous undertow of sexual love.
Cotton Candy, not the real stuff
I cannot understand why so many users are raving about this film. Yes, it is original. Yes, the lead actress is cute and holds your attention. Yes, the other characters are bizarre and sometimes funny.

But REALLY !!!! This is one of the highest rated films on imdb? I have been a movie geek for almost 50 years, and this did NOT even remotely jump out at me as an all-time great film. It is enjoyable fluff, nothing more. Did it make me feel good about life? No. I already was OK when I watched it, and it didn't move me, touch me in any real way. I expected so much more, from all the reviews. I was disappointed.

It is like cotton candy as opposed to homemade chocolate. French cinema has produced much better than this. Jules & Jim, Z, 400 Blows, Manon of the Spring, to name a few.
The most over-rated film I've ever seen...
After finding out there is a new movie in the top 20 list which I haven't seen yet, I decided I have to watch this one (#16...). Having 8.9/10 after ~22000 votes, I thought it must be superior, but was very disappointed: It's a good movie, even great one, but it DOESN'T deserve such high grades.

The story-line is not surprising at all, and the story itself is not that interesting...

My recommendation: avoid big expectations. It's a nice-little-film. Not more than that...
Simply the best...
"Le Fabuleux destin d'Amélie Poulain" is the most fabulous movie in the world! Do you know a lot of movies which make you so happy as this one? "Le Fabuleux destin d'Amélie Poulain" is not only a movie: it's a jewel of happiness, it's the glory of life, it's an amazing present for everybody, it's almost a necessity for the merriness and the peace of the world!... Actually I don't really have words to describe this extraordinary movie! Moreover Paris is even more beautiful thanks to this movie - although Paris didn't need it to be amazing! Bruno Delbonnel's cinematography is very original: all the colors are in harmony each other and with the story and the characters... Ah the characters! How interesting and warm they are! And all of them are magnificently interpreted. What about Yann Tiersen's poetic music? It's strange to see that it contributes to the joy of the movie but that it is more melancholy -and sometimes sad- when you listen to the soundtrack without the movie! In conclusion, "Le Fabuleux destin d'Amélie Poulain" put oneiric movies back on the scene... So much the better!
Pleasant fluff, but WAY overrated!!!
There are no complaints when watching "Amelie." It is pleasant enough, and it even displays a bit of depth that is the hallmark of better romantic and "feel good" comedies. However--- it isn't a great movie. It is no masterpiece. The foppish poseurs who drool over this light fare as if there were beholding some amazing jewel is getting a bit annoying. In the artsy theater in our town, I could hear the forced and hollow "salon chuckles" of the local cognoscente wannabes, as if displaying to us all that they, too, "get it." Humbug! Those folks should get out more!

This is a good movie, and it deserves to be watched and enjoyed. But dang, folks... while this emperor's new clothes may not be totally imaginary, he is, nonetheless, given all the uber-hype and Oscar predictions for this cinematic bauble, severely underdressed.
One of my "10 best films ever"
This is one of those French movies where complications accrue until you just can't figure out how things can be resolved yet you just -know- (based upon the exquisite performance by Audrey Tautou and spot-on direction by Jeneut) that the ending will satisfy.

The first time I saw this film, I turned to my wife and said "I know I'm going to love this movie" and that was about 30 seconds into the film.

I cannot write enough good things about Amelie. All the actors and actresses are perfect, the story has you smiling and rooting for Amelie, the direction is flawless, the mystery of the guy who has his picture taken at every photo-booth in the city (only to throw away the photos) had me stumped.

Frankly, if you want to know how to make a great film, study this movie.
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.

i´d rather stick to dark jeunet, thank you
Delicatessen is a masterpiece of overwhelming imagination breathless originality and excellent humor. I love that movie for its beauty and for its characters which track me back in childhood. The first difference between apes and humans, if good´o´darwin was right and we are indeed relatives of the primates, is nothing else than imagination. I will always take my hat off in front of a creative soul and i will always worship guys who can find the proper esthetical path for their imagination. This is why i love the city of the lost children. But somehow jeunet´s conversion to light is maybe not so inspired. Of course i was seduced by all those simptomps of a grate imagination and by all those small details á la tex avery, i was amused by most of the characters and i am far from saying that i am disappointet by jeunet (as i could say about his co-national besson, but this is not the right place for that), i still fancy his studied images and his fetishism for color, but this movie gives me somehow the impresion that a highly spirited guy is trying to express himself in a language he is not quite proficient in. He is making compromises and uses supportive structures to make a message go through. The most annoying of them, i will be the devil´s advocate, is the way amelie looks in the camera, hence at us, whenever she has an idea or somehow wants to make an appeal to our comprehensive capabilities, like those extremely annoying conversation-lovers who do not waste any opportunity to act with two fingers from both of their hands, somewhere at the level of the ears, nobing with the head in the same time, all this just to express more or less, undoubtfully, that they are just using quotation marks.
An easily underestimated movie...
I have loved this film for some years now and I never wrote a comment about this movie, today I have heard all kind of opinions about this film and I have heard what critics have to say about it. This film is loved by many people, but it is easily underestimated, specially by those who want films to give them deep philosophical lessons and impressive point of views of our society. A film doesn't need to be deep to be a masterpiece, if Amelie would try to be more deep than it already is it would ultimately become a worse movie, this movie is not about taking things seriously, this film is about giving people an experience, a pure cinematic experience and it does such a rare thing as having the vast maiority of people who went to see this in the theater leave the theater more happy than when they entered. It is such a powerful experience many couldn't stop smiling for a week walking around in the streets thinking about the film and looking like a fool! I am quite sure this has never happened in the same collective way to any other movie than movie history! That is why this film is unique, that is why this film changes the life of people like the tagline says. It is because it enters straight to the hearth of people and people begin to ask themselves about their own reality and why they can't feel the same way in our universe as in Amelie's universe. A film doesn't need deep messages about humanity to change the way we see life, love, humanity...

This is such a simple, universal film everyone can understand. The movie is perfect in every way and it is quite wonderful the way things worked out. Because I am quite sure the director alone couldn't make this movie, how good the direction might be I think there are 2 other factors almost as important, Audrey Tautou and Yann Tiersen. From the beginning Emily Watson was supposed to play Amelie, before she became pregnant. Watson is a great actress but never do I think it would have worked, mainly because Tautou IS Amelie in this movie and Amelie is FRENCH, Watson is not. The angelic Amelie has since become almost a symbol for France and tourists visits the cafe and makes Amelie tours around the city, the prize of the apartments in the neighborhood has sky-rocketed thanks to this movie! Yann Tiersen is also extremely important.

Originally Jeunet had someone else working for the movie, but one time he heard one of Yann Tiersen's songs in his car and fast he ran to buy all albums from Yann Tiersen and decided he should make the music for the film. Yann Tiersen had anyway only 15 days to make music for the film and said he didn't have time, Jeunet proposed he could include some of Yann's old songs into the movie and the result was 9 old and 9 new absolutely wonderful, heavenly beautiful tracks all completely perfect for this film. Nostalgic, happy, sad, energetic tracks who together with the cinematography set the right mood for the film.

Another great thing about this movie are the colors, always mixing between strong red and green colors which makes you feel you are in a world which only could exist in your dreams, the most beautiful ones you ever had. You could go on about everything which is perfect in this movie, the simple odd characters you so easily feel sympathy for and they are presented in a way only Jeunet could present a character. The odd Jeunet humor we have seen before in Delicatessen and City of the lost children, a humor which only exists in his universe. The simple plot is effective and right not to be more complicated than it needs to be and it has a beautiful message we don't often see in movies: generosity. There is also romance in this movie, but no relationship dramas, dialog, grand romantic scenes ala Titanic. No, this romantic trip is as beautiful and simple as our best memories about love and happiness.

Everything in the movie represents the best things about life, love and France. Yes, it is so french and it is so good in being french that you feel like you are french or at least wants to be sometimes when you are watching this film. Everything from Montmarte (a character in its own in the movie), Audrey Tautou to Yann Tiersen is so french, maybe I should add it is a beautiful, positive point of view of french culture without being idealistic (all people have many problems and no one has a perfect life), never becoming uninteresting or boring. I hope only those who have seen the film reads this, because I don't want people to get over-hyped about this movie, it is a simple beautiful movie with the ability to conquer the hearth of people, nothing more than that. That is why I waited long time to write about the film, I knew I couldn't stop myself from making this movie sound like the best film of all time. Because, it was the best film for me, but will it do the same for you? I hope it will, enjoy the movie!
An overwhelmingly romantic look at life
Director Jean-Pierre Jeunet is a master of whimsical quirk and Amélie might be his ultimate achievement. It's a kind of neo-fairytale or modern storybook romance, heightened to such with its narration and its wonderful score by Yann Tiersen, simple and melodic, like a small band playing in a cafè on a sunny afternoon. It delves more than slightly into fantasy, as romance often does, but does so in a very refreshing and fun way. This is a world where gnomes travel and skeletons are somewhat sensual. At the same time, this is just the magic that can and does happen everyday.

Audrey Tautou is impressingly adorable as title character Amélie Poulain, a young woman with the power and imagination to change the lives of just about everyone she comes into contact with. She lives in the moment, enjoying the ways she can bring smiles to the faces of her friends and right the wrongs that she witnesses. She's quiet and seemingly meek, but speaks volumes with her mischievous smile and loving eyes. She finds exciting adventure in what could be the most mundane situations, not taking any little thing for granted.

The film is stuffed with intertwining stories small and large that Amélie drives along, and they are each as important as the next, no matter how much or how little the movie dwells on them. What truly brings happiness? Does the truth really matter if we never know it, when it's what we personally experience that moves us along, for better or for worse. How important is the smallest exchange we may have with a stranger? Sometimes you don't even realize just how much of an effect you have, because you're not seeing the situation from their eyes. But it's all important. The details are all meaningful.

Visually, the film is mostly warm and lush with yellows and reds that pop like blood coursing through the heart. This is contrasted with an undertone of very vibrant greens and cool blues that create a fantastic atmosphere and make everything feel like an organic, natural setting. The color theory here is actually quite amazing, making the film special and nostalgic right from the beginning. It has a lightness, but is still emotional and will leave you with the inspirations of a hopeless romantic. It warms your heart, becoming overwhelming without being overbearing.

Amélie is indeed pure romance. This is the romance of life and it's intricacies, even in it's darkest moments. The film allows you to enjoy even the smallest things that might usually be overlooked and gives importance to the playful particulars of life like the joy of peeling large strips of wallpaper or skipping the best stones along a canal. It shows how one small thing may unfold a series of events that can help you conquer your fears or lead you to where you need to be in life. It shows the perfect, imaginary life we live in our heads and how close to the real world it could actually be. And, of course, it shows true love, as easy or as hard as it might be to find, and just how close it might come to slipping right through your fingers if you're not looking at it from the right angle.
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