After seeing roughly the first two acts of La Vie en rose/La Mome/Edith Piaf- Ha-Haim B’Varod/Pariisin varpunen /The Passionate Life of Edith Piaf/Zoi san triantafyllo in New York a couple of weeks ago, I was convinced that Marion Cotillard had given a remarkable technical performance, but as far as it being as definitive a performance for 2007 as some were saying out of Berlin… I was unconvinced.
After seeing the whole film here at AFI Dallas last night, I finally understand what they are talking about.
A fairly accomplished video director and insignificant film director, Olivier Dahan structured the film (which he shares writing credit on with first-timer Isabelle Sobelman) in a way that almost challenges the audience to figure out what the hell he is after. He flops restlessly between young Edith and “old” Edith with plenty of middle-aged Edith (which was, sadly for La Mome, her mid 20s) while also maintaining some story order… an explanation which may well be as confusing as the structure of the film. Really, if you thought Pulp Fiction mixed it up, you’re gonna be looking for your protractor in this one.
BUT… the third act pays off like frickin’ gangbusters, in great part because the theme of this woman’s life starts to pay off. Remarquable!!!