Pauline at the Beach

Written and directed by Eric Rohmer, Pauline a la plage (Pauline at the Beach) is the story of a teenage girl who spends the summer with her older cousin as they both endure love and complications relating to love. The third film in a thematic series known as Comedies and Proverbs, the film is an exploration of a young girl dealing with first love while her cousin tries to find fulfillment through love and sex only to deal with its shortcomings. Starring Amanda Langlet, Arielle Dombasle, Pascal Greggory, and Feodor Atkine. Pauline a la plage is a rich and intoxicating film from Eric Rohmer.

The film revolves around a 15-year old girl and her older cousin as they spend the summer on the beaches of Normandy where they both encounter love with some complications along the way. It’s a film with a simple premise as its writer/director Eric Rohmer play into a young woman dealing with first love but also a cousin trying to find fulfillment through sex and love as they both deal with complications with love. Notably as the titular character (Amanda Langlet) is being persuaded by her cousin Marion (Arielle Dombasle) to find someone as she meets an old flame in Pierre (Pascal Greggory) who is wind-surfing and is willing teach both women to wind-surf.

Yet, the emergence of a middle-aged man named Henri (Feodor Atkine) would change everything as Marion would pursue Henri much to Pierre’s chagrin while befriending Pauline who would also have her own first taste of love in a young man similar to her age in Sylvain (Simon de la Brosse). Still, Pauline does ask questions about love getting different ideas and answers from Marion, Pierre, and Henri which would add to confusion as well as complications for all involved. Most notably a moment where Pierre sees a naked woman in Henri’s home that would raise a lot of questions while Pauline and Marion were out visiting Mont Saint-Michel.

Rohmer’s direction is low-key in its approach to simplicity where it is shot on location in the beaches of Normandy as well as nearby locations including Mont Saint-Michel. While it features some wide shots in some of the locations as well as lot of coverage into the beaches that Pauline and the other characters go to. Much of the direction has Rohmer maintain an intimacy in his usage of close-ups and medium shots that play into these people falling in and out of love with Pierre still having feelings for Marion but is cautious into not wanting to hurt her. Even as he befriends Pauline whom he knows is too young for her but wants to ensure that she doesn’t go through some of the mistakes he and Marion made. The scene where Pierre sees this woman named Louisette (Rosette) naked at Henri’s home, it would become this moment in the film that play into not just morals but also if Pierre should tell Marion about what he saw.

Rohmer would create some compositions that play into the drama as well as shots of Pauline standing on a beach looking at the ocean. Particularly as it symbolizes this need of uncertainty and excitement yet it can also be unforgiving just like love can be. Rohmer would open and close the film with a shot of a cottage gate as it also symbolizes the start and end of something as it relates to Pauline and Marion. The latter of which is a woman who had been married before to someone she didn’t love but still has a lot to offer although Henri would tell Pauline in a monologue about his fascination for Marion but not in a way that is expected which often arouses jealousy from Pierre’s point of view. Overall, Rohmer crafts an evocative and riveting film about a teenage girl and her adult cousin trying to find love in all of its complications at the beaches of Normandy.

Cinematographer Nestor Almendros does brilliant work with the film’s cinematography with its naturalistic yet colorful look of many of the daytime exterior scenes of the beaches and homes as well as the interiors for some of the scenes at night. Editors Cecile Decugis and Christopher Tate do excellent work with the editing as it is largely straightforward with a few jump-cuts to play into the drama and bits of humor. Sound mixer Georges Prat does nice work with the sound to capture the sound of waves and other natural elements in the locations as well as scenes of music being played on a record player. The film’s music by Jean-Louis Valero is wonderful as it is largely music played on location that include elements of pop for the kind of music couples dance to.

The film’s superb cast feature some notable small roles from Marie Bouteloup as Henri’s young daughter who appears briefly in the film and Michel Ferry as a friend of Sylvain. Rosette is terrific as the candy basket seller Louisette as a woman that sells candy in the beach whom Henri is attracted to while Simon de La Brosse is fantastic as Sylvain as a teenage boy slightly older than Pauline who would become her boyfriend only to be roped into a situation created by Henri. Pascal Greggory is excellent as Pierre as a young windsurfer who was a former lover of Marion that expresses concern in her pursuit of Henri whom he isn’t fond of only to find himself trying to reveal some truths that would eventually put him into trouble.

Feodor Atkine is brilliant as Henri as a middle-aged man who lives in the beaches of Normandy as someone whom Marion would pursue yet is someone that wants more as he also befriends Pauline while trying to explain to her his desires and wants in a woman that proves to be more than just physical. Arielle Dombasle is amazing as Marion as a woman that is eager to have a good time and wants to find the right man yet still has no clue in finding the right man due to her own ideals and desire that would eventually confuse Pauline. Finally, there’s Amanda Langlet in an incredible performance as the titular character as a 15-year old girl who is trying to understand love as she would endure first love but also the many complications as it relates to Henri’s actions and how Sylvain gets roped in forcing her to try and understand everything as well as realize that there’s still so much to learn.

Pauline a la plage is a tremendous film from Eric Rohmer. Featuring a great ensemble cast, Nestor Almendros’ gorgeous cinematography, and its takes on love and desire seen by a young woman experiencing these things. It’s a film that is low-key in its presentation while asking many questions into what people want in a relationship as well as some of its fallacies. In the end, Pauline a la plage is a ravishing film from Eric Rohmer.

Eric Rohmer Films: (The Sign of Leo) – The Bakery Girl of Monceau - Suzanne's Career - (Paris vu par-Place de l‘Etoile) – La collectionneuse - My Night at Maud's - Claire's Knee - Love in the Afternoon (1972 film) - (L’enfance d’une ville) - (The Marquis of O) - (Perceval le Gallois) - (Catherine de Heilbronn) - (The Aviator’s Wife) - (Le Beau Mariage) - (Full Moon of Paris) - The Green Ray - (Four Adventures of Reinette and Mirabelle) - (Boyfriends and Girlfriends) - (Les Jeux de societe) - (A Tale of Springtime) - (A Tale of Winter) - (L’Arbre, le maire et la mediatheque) - (Le trio en mi bemol) - (Les Rendez-vous de Paris) - (Summer’s Tale) - (Autumn Tale) - (The Lady and the Duke) - (Triple Agent) - (Romance of Astrea and Celadon)

© thevoid99 2019

La Vie En Rose

Originally Written and Posted at Epinions.com on 12/20/07.

The name Edith Piaf to the French is a name they all know as the late singer is a beloved icon who sings songs of heartbreak and tragedy. Though her death at the age of 47 in 1963 was a sad moment, she was still beloved by her country as her fame had also grown around the world and in the U.S. during World War II despite singing for German forces in occupied France while she claimed she was supporting the resistance. In 2007, a film bio-pic was made about her life named after one of her most beloved songs entitled La Vie En Rose.

Directed by Olivier Dahan with a script he wrote featuring additional dialogue from Isabelle Sobelman based on numerous books. La Vie En Rose is the story Piaf's life from the streets of Paris to the world as she gained fame and infamy through her tumultuous life. Playing the role of the legendary singer is Marion Cotillard who had been previously seen in Tim Burton's Big Fish, Jean-Pierre Jeuneut's A Very Long Engagement, and Ridley Scott's A Good Year. Also starring Emmanuelle Seigner, Jean-Paul Rouve, Clotilde Courau, Sylvie Testud, and Gerard Depardieu. La Vie En Rose is an enthralling, enchanting portrait of one of France's enduring icons.

It's 1959 as Edith Piaf is in New York City singing but her health problems have finally caught up to her due to an addiction to injections. After collapsing, Piaf is sent to return home to France with her American boyfriend Doug (Harry Hadden-Paton) where she parties and makes more appearance before a car crash that killed Doug and left her injured. A few years later in 1963, the very ill Piaf reflects on her life as she recalls the time as a child (Manon Chevallier) living in the poor streets of Paris as her mother Anetta (Clotilde Courau) abandons her for a singing career. Forced to live with her maternal grandmother, her father Louis (Jean-Paul Rouve) returns from the war and takes her to live with his mother Louise (Catherine Allegret) who houses prostitutes. With Louis leaving for his job at the circus, Edith is in the care of her grandmother along with fellow prostitutes including Titine (Emmanuelle Seigner) who treats her like her own daughter.

When the young Edith is suffering from a disease that nearly caused her to go blind, it is with the help of the angel Therese that would make her eyes heel as her father would return to take her to his circus tour. For the next few years until she was 10 (Pauline Burlet), her father, who is a contortionist, quits the circus to go alone where he would find something in Edith's voice as she starts to sing. Years later in the mid-1930s, Edith is still a street singer singing for food and such with help from Momone (Sylvie Testud). During one day singing at a street corner, Edith suddenly gets the attention of a club owner named Louis Leplee (Gerard Depardieu) who books her at his club and brings her attention. Things go great until his sudden death in connection with the mob whom Edith is unaware she’s connected with. After that brief period of scandal, Edith is helped by her songwriter Marguerite Monnot (Marie-Armelle Deguy) and a new manager named Raymond Asso (Marc Barbe), Edith's fame rose.

In 1949 with a new manager in Louis Barrier (Pascal Greggory), she arrives to New York City where she falls for a French boxer named Marcel Cerdan (Jean-Pierre Martins) as they go on a date despite the fact he's married. Just as her life and fame was growing, tragedy would struck as Edith's life is suddenly in turmoil. After getting married and still touring the U.S., Edith's world starts to lose control as the Edith in her final years reflect on things she lost and such as she then recalls the final moment she sang to an audience.

With movies about singers starting to wear thin a bit with the typical cliche. Director and co-screenwriter Olivier Dahan wisely chose to not go convention by taking the film approach by taking the story back and forth to Piaf's own life from her final moments to her childhood to her last days, and so on. While that approach might take general audiences to be baffled by this approach, it works to tell the story of Piaf though some stories about her life are left out. Something that's likely to upset Piaf's hardcore fans but still, there's enough for them to watch and listen to. The structure of the script and Dahan's stylish direction works to reveal her humble beginnings, her discomfort towards worldwide fame, and notorious affairs including the one with Marcel Cerdan. Dahan's stylish direction definitely works to reveal the world that Piaf is in as it strays from becoming a bio-pic that is seen now lately in a lot of films. Yet, Dahan does fantastic work with the film and telling Piaf's story from her triumphs and tragedy.

Cinematographer Tetsuo Nagata does some great work with the film's tinted look of blue-green exterior shots in the streets of Paris and some of its country exteriors in Normandy to the more sepia-toned look for the film's interiors to convey the 40s-50s look of Paris and the U.S. Nagata's photography may be emphasized on style but it works to convey that dream-like look. Editor Richard Marizy does excellent work with the film's pacing that is very leisurely while using cuts to convey the moments of drama in Piaf's own life. Production designer Olivier Raoux does fantastic work in the design of the clubs and music halls that Piaf sings to the various environment she is in. Costume designer Marit Allen is also great for the look of Piaf's slender, thin dresses that she is famously is known for. Sound editor Pascal Villard does some wonderful work in capturing the sense of atmosphere in the music halls and clubs while conveying each moment in time.

Visual effects supervisors Seb Caudron and Hugh Welchman help in creating the film's look with its re-imagining of 1940s-1950s New York and Paris and the boxing scene as well. Music composer Christopher Gunning brings a plaintive yet dramatic score led by piano to emphasize the dramatic journey of Piaf's life. The rest of the music is largely driven by many of Piaf's famous songs that are played throughout the entire film that works for the film.

The film's cast is brilliant with small yet memorable performances from Andre Penvern as Jacques Canetti, Mario Hacquard as Charles Dumont, who are both two of Piaf’s songwriters, Marie-Armelle Deguy as Marguerite Monnot, Harry Hadden-Paton as Doug, Caroline Raynaud as Piaf's friend Ginou, Catherine Allegret as Edith's grandmother, Clotilde Courau as Edith's neglectful mother, and Jan-Paul Rouve as Edith's supportive father. Marc Barbe is excellent as Raymond Asso, Edith's manager who would make her sing with discipline while Pascal Greggory is brilliant as Louis Barrier, her manager to the end as he contends with her declining health. Sylvie Testud is good as Momone, Edith's street friend who just likes to drink with her while dealing with the presence of Marcel Cerdan. Jean-Pierre Martins is wonderful as the late Marcel Cerdan who charms Edith while becoming the love of her life for a brief moment.

In the child roles of Edith Piaf, Manon Chevallier and Pauline Burlet are great in conveying her innocence with Burlet doing the singing as the 10-year old Piaf. Emmanuelle Seigner is great as the prostitute Titine who becomes an unlikely maternal figure for Edith as a child. Gerard Depardieu is brilliant as Louis Leplee, the man who would discover Edith and become a father figure to her as he would pave the way for her brilliant career. Finally, there’s Marion Cotillard in what has to be a true, star-making performance as Edith Piaf. Cotillard's performance is spellbinding as she conveys the innocence of Piaf in her early years as well as her wild, drunken persona. In the other half of the film, Cotillard displays all of Piaf's performance mannerisms as well as her loud, drunken, diva-like behavior as it's shocking to see that it’s the same woman as Cotillard's performance is truly amazing.

The Region 1 DVD that presents the film in aspect ratio of 2:35:1 anamorphic widescreen with 5.1 Surround Sound in French that includes English, French, and Spanish subtitles. The only special feature, that is with optional English and Spanish subtitles, is a 10-minute special entitled Stepping Into Character is about Marion Cottilard's transformation into playing Edith Piaf in which the actress had to shave her eyebrows and the front parts of her hair while wearing loads of makeup for the character. Director Olivier Dahan talks about trying to convey each period of Piaf's life from her frizzy look early on to the regality of her great years to the decline where she has orange hair and such. It's a fine bonus feature on the DVD.

La Vie En Rose is an excellent and enchanting film from Olivier Dahan led by Marion Cottilard's performance. Those who don't know or barely know who Edith Piaf is will definitely have the urge to find her songs after this film. With film bio-pics about singers and musicians starting to become formulaic, credit goes to Dahan for not delving into conventions while giving audiences something to enjoy. For Marion Cottilard, this is truly a performance that will hopefully get some attention that is deserved. In the end, La Vie En Rose is a wonderful film to see.

(C) thevoid99 2011