Those inky round eyes and that pixie mug insure that hers are the features, poor thing, that social anthropologists will eternally reach for when asked to illustrate the term gamine. In the 12 years since Amélie's release, Tautou has had difficulty shaking off the innocent, naive and meddlesome girl from Montmartre who came out with lines like: "At least you're not a vegetable – even artichokes have hearts".Īs the American critic Anthony Lane wrote in his New Yorker review of her performance in the 2009 film Coco Before Chanel: "The problem for Audrey Tautou is that she is doomed to trail clouds of 'Amélie' wherever she goes.
The fact that it and she were so commercially successful just made things worse and she got hit even harder. "There was a section of the French media that just didn't understand how or why Amélie was such a success. Because she was its symbol, its star, it demolished Audrey too.
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Thierry Chèze of the monthly movie magazine Studio Ciné Live told the Observer: "Ordinary people love Audrey, but what you might call the 'intellectual' press hated Amélie and demolished the film. Whether it is enough to stop the barbs from French critics, who have never forgiven Tautou for becoming a star on the back of the hugely successful Amélie, is another question. Such an honour suggests Tautou has finally made it on to the list of French cinema's national treasures, headed by Catherine Deneuve. Next month the film Thérèse Desqueyroux, an adaptation of the François Mauriac 1927 classic released in France last November, in which Tautou plays the title role of a repressed wife who poisons her domineering, misogynistic husband, will open in British cinemas.Īround the same time, Tautou will confront her instinct to run away from the limelight, having agreed to be maîtresse de cérémonie at the 66th Cannes Film Festival.
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