🎦 Le fabuleux destin d'Amélie Poulain full movie HD download (Jean-Pierre Jeunet) - Fantasy, Romance, Comedy. 🎬
Le fabuleux destin d'Amélie Poulain
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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Another one that deservedly goes straight to my top-movies list! A soul- refilling experience that restores your faith in life and people... a reality check of life's little pleasures.

Audrey Tautou played Amelie to perfection that I can't really digest her performance in any other movie; she is and will always remain the doe- eyed, innocent and lovable Amelie to me. The rest of the cast are quite perfect for their roles as well.

There isn't much to be said about the movie which traces the life of a simple 23-year-old French waitress with a wild imagination; however, each and every detail counts and adds something to this colorful visual painting and the experience as a whole. Direction and cinematography are simply beautiful!

One more thing: Yann Tiersen's extremely becoming and salient music is like God's final touches on earth! Funny, gripping and spirit-lifting, this is a movie you will never get tired of watching over and over again.
Encore, Jean - Pierre!
This is essentially a conventional love story told in an unconventional way. Jeunet is a uniquely talented film maker, and it is nice to see him venture so successfully into the mainstream, especially since his previous two productions, "Alien 4" and "Cité des enfants perdus" were interesting but overall unconvincing. I recommend "Le fabuleux destin d'Amélie Poulain" to a wide audience and wish it success. Still, the movie that I would take with me to desert island would be Jeunet's other great success, "Delicatessen".
Good, but not all that.
I know I really may sound like a party-pooper but I just didn't find this film all that great. However, the lighting is gorgeous and the guy should have definitely got an Oscar for that. Audrey Tautou as Amelie is perfect (her talent was already perceivable in "Venus Beaute (Institut)" despite her small part in the movie), and Jeunet's touch is there - maybe a bit too much actually, given how reminiscent it is of his cinematography on the City Of Lost Children (not to say identical).

There are also numerous cultural references for which I'm dying to see how they were translated into other languages, and the surprising presence of comedians who are well-known to the French audience to add to the fun (Yolande Moreau, Jamel Debbouze, Ticky Holgado, ...).

On the commented version of the DVD (at least the French pressing), Jean-Pierre Jeunet makes references to Frank Capra (the scene in the bar between Amelie and Nino), Wim Wenders (the man and the box in the phone booth) and Sergio Leone (the shot of Amelie in the train station) - the problem is that the same kind of scenes shot by these directors have an intensity that is light-years away from what I felt watching "Amelie Poulain". The commentary is actually concluded by the filmmaker stating that he couldn't care less for the anachronisms in the film.

Overall, you get an arty comedy directed to mass audiences with a very thin plot that everyone can understand without thinking too hard, and a good cast performing below their usual abilities. The whole wrapped up in a fairytailish package that, even if it is cute and without much pretense, still keeps me wondering if it is uplifting enough to come out of the movie theater with a big smile on your face, and the will to change the world like so many people seem to experience after watching this film.
this must be one of THE BEST movies I have seen in the past couple of years. It managed to demonstrate the technical side of today's high-tech movie making (excellent job on digital sound and CG effects), while preserving the artistic qualities. Amazing cinematography, plot and acting. This movie made me laugh my ass off. A comedy and romance all in one. I saw it twice in 2 days and will see it again.

Wish all movies were less Holleywood-hype and more quality, like this one. I am not all artsy and anti-holleywood, but I am getting a bit tired of the cliche movies coming out of USA.
Obnoxious film about a woman-child who can't find a man.
Let's be honest: is this film really worthy of being in the Top 250? What with all the psychotic behavior and the annoying, creepy smiles Amélie cracks from time to time while she's trying to be cryptic and heroic, this film is easily one of the worst I've seen. The worst part is when people go on trying to defend it, saying that the character is simply misunderstood and that since the film is french, it offers a different perspective. Do we have to remind people that foreign films also have the ability to suck as much as American films? And I tried to give this movie a chance but the more I tried, the easier it was to find things that I didn't like about it. So go ahead, defend it as much as you like, but it doesn't change the fact that it's one of the most annoying films of the decade.
Great to a point, but slips (Spoilers)
Unlike Jean-Pierre Jeunet's Cité de enfants perdu which never has a period, or moment of greatness, Amélie manages to be great and wonderfully inventive for about the first half hour until Bretodeau gets his box back. After that it's as if we've watched the origin story of a super hero and then watch her go about her daily routine (changing from Clark Kent to Superman, so to speak). The film then hits a structural snag, whereas, now Amelie has satisfied the desire of one man she goes off and tries to help everyone almost at once and we are told of these incidents simultaneously. The film had its greatest grip on me when we were focused on one story, there would've been nothing wrong with vignettes after all it was good enough for Truffaut in Small Change. Amelie begins wonderfully, with voice-over narration of her early life which the French seem to be masters at, the best example of voice-over being in Leolo a Quebecois film. Her childhood full of its strange events come across as hilarious whereas other cultures might have botched them making them distasteful, the death of her mother being a perfect example. The quirky humor is about the only thing that never leaves the film from the ticket taker who now punches holes in plants, the stuffed dog, the traveling gnome etc. When Bredoteau finds his box we flashback to what memories those items held for him in what are truly beautiful moments of the film. This is my moment of highest involvement, that sequence was a pinnacle which the narrative never achieved again. Part of the problem is the predictability the film later runs into. I'm terrible at guessing the ends of movie but once we were introduced to Nino and told of his past I knew that he and Amelie would end up together. So obviously, it was nerve-wracking and annoying that she was so painfully shy and prolonged the movie unnecessarily. Then there's the almost American complication in the relationship between Georgette and the bar drunk by her talking to Nino were so uncalled for. Then we also have the "Glass Man" and Amelie pondering Renoir's painting. While in the beginning it's commenting on Amelie is subtle it becomes more and more overt as the film moves on. The there are Jeunet's shots of Amelie smiling to extract her cuteness for some affect and frankly she's not all that cute and the shots are inorganic which is even worse. The special effects also eventually become pedantic when the key in her pocket shines, it makes me wonder what kind of film this would've turned into if Jeunet had been given a Lucas-like amount of special effect allowances in the budget. The cinematography in this film is quite spectacular but in certain instances the effects downplay what they have been able to do with the camera. The change in structure of this film ultimately creates a domino effect. While I can't re-write the film I wonder if I would be nit-picking so much if there hadn't been such a shift in the way the story was told. In the end Amelie is an enjoyable experience that may just have indulged its premise a bit too much-6/10.
The most brightly whimsical film I have ever seen
Amélie is by far my most favorite film. I almost cannot describe how magically wonderful this film is. From the story, the characters, the hair styles, the fashion, the special effects, and especially the actors. There is not one single thing that I dislike about Amélie.

This is one of the most original and ingenious love stories ever written. The world of Amélie's mind is truly a wondrous place to reside.

Major kudos to director Jean-Pierre Jeunet for one of the most creative efforts ever put forth on film. Every character was cast perfectly. I am so pleased that Audrey Tautou was selected over Jeunet's original choice of Emily Watson.

If you like any type of romance story, or foreign films, this is the story for you.

The DVD is packed with tons of extras that make the story go on and on. I highly recommend this film to be added to anyone's film collection. J'aime Amélie.
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.
Insufferably Annoying
Not too long ago I was watching "The Hustler", and it was quite obvious that the film and practically everything about it was undeniably cool. Especially the way Jackie Gleason walked, the way he was dressed, the way he spoke, he wasn't trying to be cool, he simply was.

On a minorly related note, "Amelie" is a film that wants to be quirky, it wants to be cutesy, but it fails because it tries too hard: The exaggerated camera movements and sound effects, the ultra-luminous (yet rather nice) cinematography designed to turn Paris into a fantasy world, the odd quips of dialogue on orgasms, but the absolute biggest fault of the film is with the lead character known as Amelie.

Amelie is a woman-child who likes to take it upon herself to do selfless good deeds for everyone around her, and the entire storyline revolves around her attempts to fix various problems for everyone within her vicinity. The only problem is that Amelie's selflessness isn't real, she's only doing this to feed her own sense of accomplishment so she can crack that god-awful smile at the camera once that good deed is done. Not long after it becomes extremely apparent that she's a psychopath who breaks into other people's appartments to screw with them (because she, not the police or any authorities, must be the one to deal with bad people), appoints herself as an unneeded tour guide for a blind man and basically does whatever she wants, regardless of whether it actually helps anyone.

The film has clearly taken cues from the French New Wave (Amelie even watches "Jules Et Jim" at the Cinema) but it has taken those editing and storytelling tricks to the nth degree and spoiled the entire film, even Amelie is taken from Irene Jacob's character in "Three Colours: Red" and made even nicer and sweeter until she's just plain obnoxious It's an unbearably naive film that's filled with so much sugary fake charm that it becomes sickening rather quickly, and once the cutesy novelty wears off you realise that there's just no substance to the storyline at all. Some people have been enchanted by the magical qualities of it, but I was completely put off as the whole thing was over-the-top and rather self-indulgent. A film like "L'Atalante" finds the poetic beauty in the banality of life and simply displays it in all of its ordinary glory. "Amelie" constantly forces you to accept its own childish and faux-magical view of the world, some people can accept it, but I can't.
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.
📹 Le fabuleux destin d'Amélie Poulain full movie HD download 2001 - Audrey Tautou, Mathieu Kassovitz, Rufus, Lorella Cravotta, Serge Merlin, Jamel Debbouze, Clotilde Mollet, Claire Maurier, Isabelle Nanty, Dominique Pinon, Artus de Penguern, Yolande Moreau, Urbain Cancelier, Maurice Bénichou, Michel Robin - Germany, France. 📀