![]() Through the reference of Tiersen’s assistant, Director Jean-Pierre Jeunet swiftly selected the 52-year old musician who claims to “…not a composer,” due to his absence of a classical background.Ĭlose-up photo of Yann Tiersen with an electronic soundboard / Richard Dumas As the film includes bits of comedy and manages to spin around trauma, it reiterates how we should all progress in a manner that acknowledges our past but fully embraces what’s to come.Īlongside the plot’s development, the work of Yann Tiersen complements the film eloquently. Through the lens of Amélie, we’re reminded of what it’s like to endure life as we mature. With “Amélie,” viewers catch wind of a seemingly naive young woman eagerly embarking on adulthood- a fact of life we all experience. The film’s appeal seems to stem from its relevance and depiction. From innocently stalking the boy across Paris to collecting mementos for him, Amélie successfully finds herself in his embrace as the film draws to an end. Amélie longs for Nino and, as a result of this, forms an obsession similar to that of a developing teenage girl. Nino enjoys collecting abandoned pictures from a nearby photo booth to add to his ongoing collage project. Throughout this mission, Amélie stumbles across an employee at an adult shop, Nino. ![]() Screenshot close-up of Amélie sipping from a teacup / Amélie With this newfound passion, Amélie strives to continue to do humanitarian acts for the sake of providing more happiness in the world. In an attempt to return the stashed treasure to its owner, Amélie finds joy in the implications of doing “good” in the world. The plot develops as Amélie, the heroine of the tale, finds a buried box in her apartment complex. Despite the film’s instances of nearly sadistic realism, the story is depicted in a youthful manner due to Yann Tiersen’s playful soundtrack, the film’s vibrant oversaturation, and the recurring symbolism. But the good news is you can now savor the cast album forever, so this sweet little musical, much like Amélie Poulain, will continue to live on - in all its quirkiness and heart.The 2001 acclaimed French film, “Amélie,” portrays the story of a lonesome young woman who searches for comfort and happiness in life. Sadly, its Tony snub brought Amélie's Broadway run to a swift and sudden end. He gets his chance to shine on songs like "When the Booth Goes Bright" and the reprise of "Halfway" (which is a beautiful little musical moment). Then there are tender ballads like "Stay" and "Halfway," songs that convey Amélie's passion and inner struggle with poignancy and warmth. As Amélie's love interest, Adam Chanler-Berat sings with a softness and emotional warmth that's a perfect match for Phillipa Soo's Amélie. "There's No Place Like Gnome" and "Three Figs" are filled with so many puns that after a while you may start to roll your eyes. And the quality of these songs' lyrics and musicality just doesn't measure up to that of the musical's best numbers. While this song is perfectly executed as far as pacing and humor go, other tracks on the album are less spot on. As her imagination rapidly escalates, the music increases in speed and volume, punctuated by short bursts of silence that suggest the direction Amélie's drastic imaginings will take next (Nino ends up getting run over by a train, rushed to the hospital, and romanced by a nurse named Nora - all in Amélie's imagination, of course). One of the best examples of this is "The Late Nino Quincampoix" in which Amélie imagines what could have happened to detain the boy she was supposed to meet up with. True to the spirit of the original film, the Amélie cast recording features plenty of clever, quirky lyrics. Phillipa Soo's soaring vocals and contagious enthusiasm also contribute, of course. Among the show's catchiest songs, this track features a fun piano and orchestral score, as well as a bit of jazzy percussion. One prime example is the song "Times Are Hard for Dreamers", which, appropriately, gets a few reprises, and acts as a sort of theme song for Amélie herself. But a listen through shows that, while it can't quite replicate the movie's magic, the Amélie musical breathes a magic of its own. Actually, a little more of that setting the film to music thing might not have been a bad idea, as a common criticism of the Amélie musical is that it misses the magic of the movie. While the Broadway soundtrack plays with some of the movie's most delightful moments, it invents plenty of its own as well, and doesn't just feel like someone set the whole film to music. ![]() Now, with the release of the Broadway cast recording, you can savor all of that quirkiness and heart as sung by Phillipa Soo (of Hamilton fame) backed by a simple yet lovely combo of piano and strings. Amélie, the new musical based on the 2001 French film, features a soundtrack much like its heroine: imaginative, quirky, and full of heart.
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