MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

La Vie Marion Cotillard

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!!!

2 Responses to “La Vie Marion Cotillard”

  1. James Leer says:

    It may be a great technical performance, but watching this movie was like driving a stake into my brain for 2+ hours.

  2. wholovesya says:

    Totally disagree with you Leer. I thought it was fantastic. I agree with Poland, her performance and the third act totally pay off.
    SPOILER
    And that (spoiler) scene where she finds out Marcel has died? Incredibly well done.
    END SPOILER
    If only they hadn’t ignored her experiences during WW II…which is somewhat bizarre…
    (edited by DP to create a more clear spoiler note)

The Hot Blog

Quote Unquotesee all »

“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier