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Jean-Pierre Jeunet's Amelie is one of those once-in-a-decade comedies which scatters its charm like pearls from a broken necklace, all the more adorable because they are not real.
There really aren't all that many movies made at this level of achievement whose subject matter and tone both support the idea that the world and the people in it are basically good.
Tautou is a remarkable young actress. Her wide-eyed, gamine look, reminiscent of a young Audrey Hepburn or Leslie Caron, gives Amelie an innocence and vulnerability that is so essential to make the story work.
Amelie contains enough material for a dozen or so charming shorts, but stretched to feature length, the whimsy grows wearisome, and the film delights far less than it seems to desire.