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天使艾米莉英文介绍

发布网友 发布时间:2022-08-30 00:13

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热心网友 时间:2024-12-03 23:45

Le Fabuleux Destin d'Amélie Poulain (The Fabulous Destiny of Amélie Poulain), also known as Amélie or Amélie from Montmartre, is a 2001 French romantic comedy film directed by Jean-Pierre Jeunet and starring Audrey Tautou. Written by Guillaume Laurant (also dialogue) and Jeunet. The film is a whimsical and somewhat idealised depiction of contemporary Parisian life, set in Montmartre.

The film was released in France, Belgium, and French-speaking western Switzerland in April 2001, with subsequent screenings at various film festivals followed by releases around the world.

Amélie won best film at the European Movie Awards; it won four César Awards (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards. It is the highest-ranking French movie in the IMDB's Top 250

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Amélie is the story of the titular protagonist, Amélie Poulain, a girl who grows up isolated from other children by Raphaël, her taciturn doctor father, e to his mistaken belief that she suffers from a heart condition (a mistake in fact resulting from the increase in her heartbeat caused by the rare thrill of physical contact by her father, who only ever touched her ring medical check-ups). Her mother (who is just as neurotic as her father) dies when Amélie is young, victim of a freak accident involving a suicide from a Québécoise who threw herself off the top of Notre Dame Cathedral and landed on Amélie's mother, causing her father to withdraw even further (and devote his life to building a rather eccentric shrine to his late wife). Left to amuse herself, Amélie develops an unusually active imagination.

When she grows up, Amélie becomes a waitress in a small Montmartre café, The Two Windmills, run by a former circus performer and staffed / frequented by a gang of eccentrics. By age 22, life for Amélie is simple; having spurned romantic relationships following a few failed efforts, she has devoted herself to simple pleasures, such as cracking crème brûlée with a teaspoon, going for walks in the Paris sunshine, skipping stones across St. Martin's Canal, trying to guess how many people in Paris are having an orgasm at one moment ("Fifteen!", as she tells the camera), and letting her imagination roam free.

Her life changes on the same day that Princess Diana dies. Following a series of circumstances resulting from her shock at the news, behind a loose bathroom tile she finds an old metal box of childhood memorabilia hidden by a boy who lived in her apartment decades past. Fascinated by the find, she resolves to track down the now grown-up man who put it there and return it to him, making a deal with herself in the process; if she finds him and it makes him glad, she will devote her life to goodness. If not, too bad.

She meets her reclusive neighbor Raymond Dufayel, a painter who continually repaints Luncheon of the Boating Party (Le Déjeuner des canotiers) by Pierre-Auguste Renoir. He is known as 'the Glass Man' because of his brittle bone condition. With his help, she tracks the former occupant down, and places the box in a phone booth, ringing the number as he passes to lure him there. Upon opening the box, the man has an epiphany as long-forgotten childhood memories come flooding back. She trails him to a nearby bar and observes him but does not reveal herself. On seeing the positive effect she had on him, she resolves from that moment on to do good in the life of other people. This results in Amélie becoming a something of a secret matchmaker and guardian angel, as she persuades her father to follow his dream of touring the world (with help from his garden gnome and an air-hostess friend), her co-workers and friends (two of whom she sets up), the concierge of her building, and Lucien, the boy who works for the bullying owner of the neighborhood vegetable stand (whom Amélie delights in taking vengeance upon).

But while she is looking after others, no one is looking after Amélie. In helping other people achieve happiness, she is forced to examine her own lonely life - made ever more apparent and painful by her relationship with Nino Quincampoix, a quirky young man who collects the discarded photographs of strangers from passport photo booths, whom she has fallen in love with. Although she intrigues him through her various roundabout methods of attraction (including something like a treasure hunt for one of his forgotten photo albums), she is painfully shy and incapable of actually approaching him. It will take Raymond's friendship to teach her to pursue her own happiness whilst still ensuring that of her friends and neighbours.
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