LA VIE EN ROSE topped my all-time list of biopics. Some films of people's lives are quite entertaining, though it is perplexing, this need to invent people who never existed and events that never happened. This of course reminds me that poetic license is at work, and most likely will amplify some part of the person's life that inspired the filmmaker's investment in the first place. Nevertheless, the storytelling technique employed by Director Olivier Dahan lent a natural quality to the story of a life lived flamboyantly, rather than being just a linear story. This biographical work attempted to depict a musical icon of the early twentieth century—Edith Piaf.

Piaf was a larger-than-life personality. Her brief life was far-flung historically. Dahan's overall portrait was unforgettable, haunting me still. Her life was presented as a tapestry, rather confusing at first, until you get the feel of the storytelling style, like listening to an older person reminiscing. The film took the same theatrical route Piaf used with her songs. She sang rousing pieces powerfully, or emotionally draining ballads with just the right tremor. She delivered what her audiences wanted to hear. Successful for her. Dahan's filming style attempted to follow her lead. Successful for him? Mostly.

Marion Cotillard seared a dazzling vision of Piaf into my mind, her skilled acting ennobling, her portrayal inspired. She is surely headed for an Oscar, certainly a nomination. Her concentration on her character was astonishing. The illusion aided with makeup for her eyes and eyebrows, her slight build pulled off the distinctive stances of Piaf. Piaf lived again for the two hours and 20 minutes we were with her.

The excellent cinematography palette caught the vintage period and complimented the look of the woman who, according to Audrey Hepburn, made the little black dress an absolute must in fashionable women's wardrobes. The superlative editing made the story as tight as possible, communicating so much of Piaf, to glimpse her talent and how that affected her and everyone around her.


Edith Piaf had a somewhat miserable childhood. As a young adult, her circumstances are equally wretched. Finally, mentors who saw her promise, took her in. Vulnerable where it came to her voice, she submitted to their observations, learning enunciation, emoting and stage presence. Raymond Asso (Marc Barbe) put her through strenuous tutoring, evaluation and recreated her anew, clothes and all. He encouraged her to feel the words, be a bit more expressive, convey the story of the songs. He got her an evening at a concert hall, and there she was, for all discerning music lovers to discover. Her charisma and the power of her performances entranced audiences from Paris to New York. She succeeded well beyond anyone's hopes.

Her raw and savvy personality, hardened on the Bellville streets of Paris, followed her through her career, into the finest salons and concert halls. She was bold, singularly an individual. Her stimulating songs lifted her to national, then international importance as the leading female singer of her time. She was also a party animal, apparently a heavy drinker and immune to public opinion. Cotillard and Dahan et al, captured the essence of Edith in a caged, filmic version of her, forever.


Coming to an unceremonious end, her career had a splashy last stage moment with "No Regrets." Dahan used the song and its brave sadness, over a montage of still revelatory scenes: people we hadn't met, events not depicted yet in this complex person's life. Dahan succeeds with his homage that builds to a throat closing crescendo.

"No Regrets" ("Non, je ne regrette rien"), was a song written for her in the winter of her career. Her health, always fragile, was a burden she chose to bear with the aid of pain-killing drugs. Her body, bent with arthritis in her later years, lasted 47 short years. As she was beginning to accept her own limitations, just hearing "No Regrets" inspired her to try to perform again. It resonated with her convictions as she fought being overcome with sorrow and defeat.

           It was wonderful to watch the superb Gérard Depardieu at work, however briefly. The entire ensemble cast gave exceptional performances. They surrounded Cotillard in a French milieu of people, portraying some of those of importance, who populated Piaf's life. Piaf's recordings were used to great effect. Minor splicing with a highly imitative Jill Aigrot's supplemental singing made the close-ups seamless. Piaf's powerful singing punctuated Dahan's pivotal story moments.

The illusion was sufficient for me. CD's of her own work, introduced to me only five years ago, are now laced with a stunning verve and immediacy since viewing La Vie En Rose. I love her singing style, her voice so distinctive, so ferociously demanding of attention. Listening to her music now has a new depth.


Her country name was dropped by her mentors in favor of a nickname they gave the diminutive 4'8" singer—the little sparrow—which in French is La Môme Piaf. It was our fortune that they found this little bird on the street corner and coaxed her into their small cafe clubs. She was too robust to be caged, but the roosts they provided her gave her the height needed for her to take wing. Even as difficult as it was for Dahan to condense her essence into a film, I felt he made a valiant enough attempt to let me feel she flew with me for a time.

The film eclipsed any life story movie biography I've ever watched.

Column rating: See?
Absolutely, especially if you love Edith Piaf's Music, or biographies, or French films.
This film is subtitled, although you hardly notice.

See With Your Children?
Use discretion; at least they should be mature about the subject of dying, especially.