So yeah, if you're looking for a film that tells you about how good of an actress Cotillard is, then you need not look anything further than this film, but don't exactly go in expecting her to look about as good as certain other traditional pop women of the extra classic era. I mean, she doesn't look too bad, or at least not when she's a younger, cuter Édith Piaf but they made her look even skinnier, put some serious fatigue around her eyes and really rolled back her hairline, and yet, they managed to cover up that someone little, somewhat strangely placed mole on the forehead that is so much more pronounced in this film, so I guess the makeup artists could have done a more intense job of dressing the lovely Mademoiselle Cotillard for the sake of authenticity. Though not necessarily in this film. 'Des yeux qui font baisser, les miens Un rire qui se perd sur sa bouche voila, le portrait sans retouche de l'homme auquel, j'appartiens!' Nope, I'm pretty sure that the translation of that song's lyrics in no way makes me sound gay, but just in case, Marion Cotillard sho' is purtty. Intro: G Gmaj7 Em Am D D7 Verse 1 : G Gmaj7 Hold me close and hold me fast Em The magic spells you cast Am D This is La Vie en ros-e D7 When you kiss me heaven sighs D And though I close my eyes G D I see La Vie en ros-e Verse 2: G Gmaj7 When you press me to your heart Em I'm in a world apart Am a world where roses bloom Bridge : Am G.

Time needs to be taken to flesh out a character study this layered, and while the film soaks up its depths just enough to keep you from falling out, it grows more and more frantic in its thinning out exposition as it goes along, until, after a while, the final product devolves into repeititious aimlessness, and that alone drives it into underwhelmingness, yet the issues don't quite end there. Ostensibly aiming to obscure conventionalism as a biopic (Yeah, such an aim doesn't quite hit, but more on that later), this film structures the unraveling of a layered life study in a non-linear format that gives you a glimpse into one segment in Piaf's life, then focuses on a separate glimpse of a separate segment, and can work, but doesn't quite gel in this film, which gets too carried away with its format, growing rather convoluted at times, maybe even all-out uneven, when not failing to spend as much time as it should meditating on any one tossed-in segment. Manipulative dramatic notes in this film aren't too manipulative, but they stand as recurring blows to your investment, which takes enough damage from, of all things, a questionable story structure. The song became very popular in the US in 1950 with no fewer than seven different versions reaching the Billboard charts.This drama is, at times, effective, and the ambition behind dramatic depth is palpable enough to sustain a reasonable degree of your investment, yet it is just that ambition that all too often taints this film with dramatic shortcomings, particularly histrionics, which rarey, if ever bear down too heavily, but thin out genuineness in emotional resonance to the point of even leaving the faithfulness to the more theatrical, yet nonetheless factual beats in Édith Piaf's inspiring story to come off as overblown.

0:00 / NaN:NaN.La Vie en Rose is one of a few exceptions where the level of speech is more standard than casual. Add similar songs to the end of the queue. Add similar songs to the end of the queue. Add similar songs to the end of the queue. Still, no matter how often the film misses a note, when it hits a high mark, it generally hits fairly hard, not quite to the point of giving you what you might want out of a film of this type, but still replenishing your investment in Édith Piaf's story, or at least her taste in music, as well as Christopher Gunning's taste in music.Autoplay. I like the film just fine, and it has plenty of things behind it that are not simply commendable, but near-laudable, yet for every considerable strength, there is a considerable shortcoming, and while you can't take enjoyability completely away from this film, the final product is ultimately dragged away from potential and into relative underwhelmingness.

Money is very well-spent when it comes to this film's production value, which is rich and convincing, as well as rather attractive, though that might just be because of the artistic value that is put into Tetsuo Nagata's cinematography, which is nothing short of stunning in its crisply emphasizing color - both bleakly gritty and rather strikingly heavy - in a fashion that is handsome half of the time, and down-right stunning the rest of the time. As for the mainstream soundtrack that grows more and more pronounced as the film progresses, it's also quite worthy of compliment, as Piaf delivered many a fine tune, and boy, do you get plenty of them in this film, whose plays with Piaf's dynamic and rich work help in further selling you on this film's tone, while also selling you on this film's timeline, though not quite as effectively as the production designs, as Olivier Raoux delivers on eye-catchingly intricate, yet convincingly controlled revivals of the settings to Piaf's world, from the gritty slums of France in the 1920s, to the dazzle of the star life in the mid-1900s. Il / Elle / On voit la vie en rose.LYRICSHold me close and hold me fastThe magic spell you castThis is la vie en roseWhen you kiss me heaven sighsAnd tho I close my eyesI see la vie en roseWhe.When Édith Piaf's musical career is brought more into play, say, after the segments that focus on Piaf's harsh childhood, the film begins to focus more on mainstream tunes than Christopher Gunning's efforts, but whenever Gunning's score is, in fact, brought in, it delivers on a classically tasteful soul that helps in defining plenty of areas of depth.

In her adult years, Piaf starts out as a promising and somewhat humble young soul, then grows into a charismatic, yet rather spoiled superstar who eventually descends into a brief middle age that is racked with bitterness, then fear, and finally regret, and Cotillard's immersively committed portrayal of this heavily layered character progression is bound to take your breath away and has to be seen - nay - experienced in order to be believed, as it carries this film, which is too flawed to reward by its own right, but is well-produced and well-acted enough, as well as endearing enough, to ultimately prove reasonably worthy of your time.In the end, histrionic spots slow down the momentum of this character study, which is further hurt by exposition issues that, alongside repetition and convolution, serve as components to an uneven narrative structure that cannot fully obscure the considerable conventionalism that it joins with in driving this should-be strong film into underwhelmingness, though not so deeply that the color of the score and soundtrack, sharpness of the production value, beauty of Tetsuo Nagata's cinematography, value of the story concept that is brought to life by inspired moments in Olivier Dahan's direction, and, of course, power of Marion Cotillard's transformatively layered, deeply emotionally involved and all around outstanding performance to make 'La Vie en rose' a decent study on the layered life and times of Édith Piaf, flawed though it may very much be. I wish the rest of this film was as strong as its final note, but compellingness is never too thin in this film, but enjoyable character study, which wouldn't be as engaging as it is if it wasn't for the leading efforts, not by Dahan, but by our onscreen leading lady, for although there are plenty of good performances in the supporting cast, there is no coming close to outshining or overrating the revelatory Marion Cotillard, who I've always known to be good, but not this outstandingly good, because if there's nothing else that is phenomenal in this film, its Cotillard's effortlessly committed portrayal of Édith Piaf, which doesn't need Didier Lavergne's and Jan Archibald's excellent makeup effects to be hauntingly transformative, as Cotillard not only impeccably adopts the mannerisms and other characteristics of the late, great talent, but captures the human depths that defined Piaf with considerably intricate layers, complimented by an intense emotional range that stops you cold, if not break your heart at times. Speaking of which, while the conceptually valuable substance behind this film is all too often mishandled in the long run, it still stands, establishing an immediate degree of engagement value that may not be too strong, but keeps you going until Olivier Dahan genuinely delivers as storyteller, whether when he's keeping entertainment value adequate, or working around histrionic spots to deliver on genuinely effective emotional resonance, especially when it comes to a pretty powerful ending.

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