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“La Vie en Rose”, by Olivier Dahan

FILM MOVES AUDIENCE AS IT DISCLOSES THE MYTH OF EDITH PIAF

Dealing with one of the greatest icons of France is risky business. However, “La Môme” (internationally known as “La Vie en Rose” by Oliver Dahan), the movie that opened the 57th Berlin Festival competition, manages to find the balance between the best of Edith Piaf’s myth and the ordeals of her life, which is certainly unknown to most of the audience that will be attracted by this production. This balance shocks people most of the time, but it results in strong emotions and tears. Before becoming one of the most popular French singers, Edith Piaf was raised in a brothel, traveling circuses and some of the most sordid cabarets of Paris.

The young actress Marion Cotillard is the one responsible for this successful 25-million euro French production, four months of shooting in studios and scenarios of the Czech Republic, Paris and California, one more year of post-production in Paris and a number of negotiations with Edith Piaf’s heirs for the use of her songs. Thirty-two-year-old Cotillard changes herself into Edith Piaf from 18 to 47 years of age, when she died looking like she was 80. The actress’s ability to change is remarkable. The only feature which is not hers is Edith Piaf’s unique voice.

“La Vie en Rose” will probably have a large international career. It will be released worldwide, including the USA.

Besides “La Vie en Rose”, France has a dominant presence in the 57th Berlin Festival. François Ozon closes the festival with “Angel.” Variety Magazine counted 34 productions with French participations on all the lists of all the sections of the festival. Among these, there are six more in the competition – “Les Termoins/The Witnesses,” by André Techiné, “Ne Touchez pas la Hache/Don’t Touch the Ax”, by Jacques Rivette and four others co-produced with other countries.

Even so, the rupture of the powerful French production company Wild Bunch with the festival stands out, inflamed by the rejection of its super-production “Molière” by Laurent Tirard for the competition. Despite this apparent insatiability, the representatives of the American movie industry can’t complain. The French policy for the cinema reflects a beautiful tradition of that country for its cultural diversity. France is the biggest co-producer of movies in the world and needs to be visible in this festival. Better still if packed with the beautiful songs immortalized by Edith Piaf.