Amelie review roger ebert biography wikipedia

You see it, and later when you think about it, you smile. Her father, a doctor, gives her no hugs or kisses and touches her only during checkups—which makes her heart beat so fast he thinks she is sickly.

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Her mother dies as the result of a successful suicide leap off the towers of Notre Dame, a statement which reveals less of the plot than you think it does. Amelie grows up lonely and alone, a waitress in a corner bistro, until one day the death of Princess Diana changes everything. Yes, the shock of the news causes Amelie to drop a bottle cap, which jars loose a stone in the wall of her flat, which leads her to discover a rusty old box in which a long-ago boy hoarded his treasures.

But not in any old way. So, she will amuse herself and us by devising the most extraordinary stratagems for bringing about their happiness. The movie played in the commercial theaters of the back streets, where audiences vibrated with pleasure. After discovering the box and bringing happiness to its owner, Amelie improvises other acts of kindness: painting word-pictures of a busy street for a blind man, for example, and pretending to find long-lost love letters to her concierge from her dead husband, who probably never mailed her so much as a lottery ticket.

Amelie likes Nino so much that one day when she sees him in her cafe, she dissolves. Into a puddle of water. She wants Nino, but some pixie quirk prevents her from going about anything in a straightforward manner and success holds no bliss for her unless it comes about through serendipity.

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There must be times when Nino wonders if he is being blessed or stalked. The film is filled with great individual shots and ideas. One of the best comes when Amelie stands high on the terrace of Montmartre and wonders how many people in Paris are having orgasms at that exact instant, and we see them, 15 in all, in a quick montage of hilarious happiness.