At Eternity's Gate

Directed by Julian Schnabel and written by Schnabel, Jean-Claude Carriere, and Louise Kugelberg, At Eternity’s Gate is the story about the final years of painter Vincent van Gogh. Based on theories by van Gogh biographers Steven Naifeh and Gregory White Smith, the film dramatizes the events of van Gogh’s final years as well as his eventual death as the painter struggles to get attention and recognition for his work as van Gogh is portrayed by Willem Dafoe. Also starring Mads Mikkelsen, Rupert Friend, Mathieu Almaric, Emmanuelle Seigner, Oscar Isaac, and Niels Arestrup. At Eternity’s Gate is a rapturous and riveting film from Julian Schnabel.

Set during the final two years of the life of Vincent van Gogh, the film follows the painter as he struggles to make a name for himself while wanting to express himself artistically as well as questioning himself about his art and the divine. It’s a film with a simple premise yet it doesn’t play into a straightforward approach expected in films about real figures. Instead, it is a study of a man trying to find himself through his art as he also begins to question his being and worth as an artist and as a man while he would meet various people in his journey. The film’s script by Julian Schnabel, Louise Kugelberg, and Jean-Claude Carriere follows van Gogh in that journey where he often walks around landscapes in France as he would often paint what he sees as those who would see his paintings are convinced that he’s no good. Upon meeting the artist Paul Gauguin (Oscar Isaac) in Paris as they both share their thoughts on art, van Gogh goes to Arles in the South of France to find inspiration in the landscape but is ridiculed by some locals for his aesthetics while a visit from Gauguin only adds to his emotional turmoil.

The film’s second half revolves around the events in which van Gogh had cut off his left ear as the narrative also feature voiceover narration from van Gogh through letters he would write to his brother Theo (Rupert Friend) who would fund his art. It is at this time that van Gogh would be sent to an asylum as he ponders about his art and such but also the beauty of nature and the divine. Even as he would continue to paint to the day he dies as the script also showcases the man’s delusions and episodes of mental illness as well as ideas of what might’ve happened on the day of his death.

Schnabel’s direction is definitely dream-like in some of the imagery he creates as he would also shoot the film on actual locations in Arles as well as additional locations in Bouches-du-Rhone, and Auvers-sur-Oise in France. Schnabel’s usage of the wide and medium shots add to the beauty that van Gogh was seeking but also something that is almost indescribable in trying to find the actual look of it which is why he paints fast. The attention to detail in the painting as well as what van Gogh sees adds to the beauty while some of the framing that Schnabel creates in the medium shots do match up to some of the paintings that van Gogh has created. Even in the close-ups as it help play into the sense of despair and torment that van Gogh endures with Schnabel often shooting scenes with hand-held cameras where the camera often glides or gets a point-of-view shot of van Gogh walking. The usage of the hand-held cameras would also play into the wonders of nature and the surroundings that van Gogh would encounter.

Also serving as editor with co-writer Louise Kugelberg, Schnabel’s usage of jump-cuts and dissolves add to some of the film’s emotional moments as well as play into van Gogh’s troubled mental state. Notably in scenes during the third act where van Gogh is in an asylum as it returns to the film’s opening scene where it is shown in a different context. It adds to this sense of despair and uncertainty in van Gogh where he meets a sympathetic priest (Mads Mikkelsen) who gets a look at one of his paintings and does express his opinion yet doesn’t think that van Gogh is a terrible painter. The third act also has Schnabel play into things that play into events relating to his work including a sketchbook that would be lost until 2016 and what happened to him on the day he died. Yet, Schnabel showcases a man that is driven by the beauty of his surroundings and hoping to capture it the way he and possibly God sees it. Overall, Schnabel crafts an intoxicating and enchanting film about the final years in the life of Vincent van Gogh.

Cinematographer Benoit Delhomme does incredible work with the film’s cinematography as its usage of lush colors and dream-like photography add to the films’ beauty as well as its usage of blurry lenses and some black-and-white shots that showcases the depths of van Gogh’s psyche. Production designer Stephane Cressend, with set decorators Sonia Gloaguen and Cecile Vatelot plus art director Loic Chavanon, does brilliant work with the look of the places that van Gogh would go to and stay at as well as a tavern he would frequent at and the asylum where he spent some time during his illness. Costume designer Karen Muller Serreau does fantastic work with the ragged clothes that van Gogh wears as well as some of the clothes the other characters wear.

Special makeup effects artist Jean-Christophe Spadaccini and special effects makeup designer Mark Wotton do terrific work with the look of a few characters including van Gogh after he had cut off his left ear. Visual effects supervisor Arthur Lemaitre does nice work with the visual effects as it is largely minimal in presenting van Gogh without his left ear and a few bits of set dressing. Sound editor Thomas Desjonqueres does excellent work with the film’s sound in the way it repeats lines of dialogues to play into van Gogh’s delusions as well as capturing natural sounds as it is a highlight of the film. The film’s music by Tatiana Lisovskaya is amazing for its lush and somber piano sonatas and low-key orchestral touches that play into the film’s melancholic tone as well as the sense of wonderment that van Gogh endures.

The film’s wonderful cast feature some notable small roles and appearances from Anne Consigny as a schoolteacher who is disgusted by what van Gogh is painting, Louis Garrel as the voice of an article by an art critic, Lolita Chammah as a young woman van Gogh meets at the film’s beginning, Vincent Perez as an art gallery director, Amira Casar as Theo’s wife Johanna van Gogh-Bonger, Vladimir Consigny as an asylum doctor, and Niels Arestrup as a madman van Gogh converses with at the asylum about insanity. Mads Mikkelsen is superb in his one-scene performance as a priest who converses with Van Gogh about art and the divine as it is a low-key performance from Mikkelsen who provides a sense of warmth to the character. Mathieu Almaric is fantastic in his small role as Dr. Paul Gachet as a man who is a subject of one of van Gogh’s paintings as well as be someone who would be with him on the last day of van Gogh’s life.

Emmanuelle Seigner is excellent in a dual role as the woman from Arles who becomes a subject of one of Van Gogh’s paintings as she would give him a place to stay while other role as Madam Ginoux is brief as the woman who would unknowingly have van Gogh’s sketchbook and put in a place that she would forget about. Oscar Isaac is brilliant as Paul Gauguin as an artist who shares van Gogh’s ideas about aesthetics yet becomes baffled by what van Gogh is trying to find through art believing that van Gogh would never get any attention. Rupert Friend is amazing as van Gogh’s brother Theo as a man who is also funds van Gogh’s work as he becomes concerned about his brother’s emotional and mental well-being. Finally, there’s Willem Dafoe in a performance for the ages as Vincent van Gogh as this tormented artist who is trying to create art that means something while dealing with rejection, criticism, and himself as Dafoe play into this man’s struggle as well as wanting to create something that he believes is closer to what God would see as it is a towering performance from Dafoe.

At Eternity’s Gate is an outstanding film from Julian Schnabel that features a career-defining performance from Willem Dafoe as Vincent van Gogh. Along with its ensemble cast, Benoit Delhomme’s ravishing cinematography, Tatiana Lisovskaya’s somber score, and its exploration of an artist trying to create art that is divine. The film is an unconventional yet enthralling film that doesn’t play into the traditional schematics of a bio-pic in favor of studying a man trying to capture nature at its most pure. In the end, At Eternity’s Gate is a magnificent film from Julian Schnabel.

Julian Schnabel Films: Basquiat - Before Night Falls - The Diving Bell and the Butterfly - Lou Reed-Berlin: Live at St. Ann's Warehouse - Miral

Related: (Lust for Life) – (Vincent & Theo) – (Dreams (1990 film)) – (Loving Vincent) - The Auteurs #43: Julian Schnabel

© thevoid99 2020

Bitter Moon

Based on the novel Lunes de fiel (Evil Angels) by Pascal Bruckner, Bitter Moon is the story of a British couple on a honeymoon cruise ship in the Mediterranean where they meet a Frenchwoman and her American husband who tells the British man the story of their marriage. Directed by Roman Polanski and screenplay by Polanski, Gerard Brach, and John Brownjohn with screen story and contributions by Jeff Gross, the film is a study of marriage and desire where two men converse about passion and desire as well as the dangers that occur in a relationship. Starring Peter Coyote, Hugh Grant, Kristin Scott Thomas, Emmanuelle Seigner, and Victor Banerjee. Bitter Moon is a wild yet exhilarating film from Roman Polanski.

Set mainly on a Mediterranean cruise ship towards Istanbul during the Christmas holiday, the film revolves around a British couple on their honeymoon as they meet a young Frenchwoman and her paralyzed American husband where the latter tells the British man the story of their love affair leading to all sorts of intrigue and attraction towards the Frenchwoman. It’s a film that is an exploration of passion in marriage where a man is fascinated yet shocked by the stories of this paraplegic whose wife is a beautiful yet troubled woman. The film’s screenplay by Roman Polanski, Gerard Bach, and John Brownjohn maintains a back-and-forth narrative where Oscar Benton (Peter Coyote) tells Nigel Dobson (Hugh Grant) the story of his marriage and relationship with Micheline “Mimi” Bouvier (Emmanuelle Seigner) from the moment they met to the time they got married after he had been paralyzed.

Much of the film has Benton tell Dobson this story as each act ends with Dobson telling his wife Fiona (Kristin Scott Thomas) about what he’s heard as she is disgusted by the stories preferring to play bridge or chat with an Indian gentleman in Mr. Singh (Victor Banerjee) who is onboard with his daughter Amrita (Sophie Patel) whom Fiona is fascinated by. Dobson is reluctant to hear more of Benton’s story as it relates to his relationship with Mimi in Paris as the first act is about the sense of adventure and passion they had. The second act is about the disintegration of that relationship due to his lack of interest towards Mimi where he would humiliate her publicly as she changes her looks and becomes needy. The second act does meander due to tonal issues as it delves into dark comedy and drama with Dobson becoming confused but also aroused by Mimi in her activities on the cruise. Yet, it would lead to this third act that is about how Benton got paralyzed and the relationship with Mimi in its current state.

Polanski’s direction is definitely wild in terms of the activities that Benton and Mimi do as well as how they humiliate each other just to turn themselves on. Shot mainly in Paris as well on an actual cruise ship and on studio sets in Paris, the film does play into two different worlds from the claustrophobic feel of the interior cruise hallways to the more open yet chaotic world of Paris. Polanski would use a lot of wide and medium shots to play into the locations of Paris while emphasizing on the latter and close-ups for the scenes at Benton’s apartment where he and Mimi would engage in ideas of sadomasochism and other sexual activity to express their passion for each other where it starts off with an air of innocence. Notably in a moment that plays into this innocence and passion for love is shown during a scene at a skydiver ride where they reach their hands as if there’s an element of fantasy. There’s a liveliness in the way Polanski play into the idea of sadomasochism and bondage where it is innocent until the second act where Benton becomes mean towards Mimi.

The scenes on the cruise ship are more constrained due to its claustrophobic tone in the rooms and interior hallways yet does have a sense of calm on the decks and at the main hall for meals and at the climatic New Year’s Eve party. Despite some of the tonal issues in the film’s second act, Polanski does maintain that air of intrigue and dark humor that play into Benton’s desire to humiliate Mimi at social gatherings and such. Polanski would also play into this intrigue as it relates to Dobson who finds himself attracted to Mimi but doesn’t want his wife to know while he’s unsure if Mimi and Benton are playing him or want him for something. The New Year’s Eve party scene is where some big surprises occur but also play into the fallacies of temptation and desire along with the dark aspects of relationship forcing Dobson to deal with himself and his own marriage to Fiona. Overall, Polanski crafts a provocative and intense film about a man’s infatuation with a woman through the stories told by her paraplegic husband.

Cinematographer Tonino Delli Colli does amazing work with the film’s cinematography with the way the exteriors of the cruise ship are shown during the evening as well as the exteriors in Paris along with the look of the Parisian nightclubs that Benton and Mimi go to. Editor Herve de Luze does excellent work with editing as it has elements of style in the montages and dissolves along with rhythmic cuts to play into the drama and suspense. Production designer Willy Holt and Gerard Viard do brilliant work with the look of the interiors of the cruise hallways, cabins, dining halls, and ballrooms as well as the look of Benton’s apartment in Paris.

Costume designer Jackie Budin does fantastic work with the costumes in the stylish clothes that Mimi wears including the colorful sweaters, sneakers, and other casual clothes to some of the wild and skimpy dresses along with the S&M stuff. The sound work of Daniel Brisseau is superb for the atmosphere of the cruise ship with sounds of water heard in the background as well as how music is heard in some scenes including some of the noises that happen for the scenes in Paris. The film’s music by Vangelis is incredible for its usage of orchestral and piano-based music to play into the drama and suspense with rich string arrangements and textures that add to story while the film’s soundtrack is a mixture of music ranging from artists/acts like Peggy Lee, the Eurythmics, George Michael, Sam Brown, the Communards, Gloria Gaynor, and covers of songs by Bryan Ferry, Stevie Wonder, and Lionel Richie that are performed in the film’s climatic New Year’s Eve party.

The casting by Francoise Menidrey, Mary Selway, and Bonnie Timmermann is marvelous as it include some notable small roles from Sophie Patel as Mr. Singh’s daughter Amitra, Olivia Brunaux as Mimi’s roommate Cindy, Boris Bergman as a friend of Oscar who often goes clubbing with him, Luca Vellani as an Italian cruise passenger who tries to flirt with Fiona when he took over for Dobson during a game of bridge, and Stockard Channing in a terrific yet un-credited cameo as Benton’s agent Beverly who is trying to get Benton to come back to New York City. Victor Banerjee is superb as Mr. Singh as an Indian gentleman traveling to Istanbul as he befriends to the Dobsons while representing someone who can show the Dobsons another way of life that is more fulfilling than what the Bentons offer. Kristin Scott Thomas is fantastic as Fiona Dobson as a woman who is trying to enjoy her vacation as she becomes concerned about Nigel’s fascination towards the Bentons as she becomes disgusted by his attraction to Mimi prompting her to show that she can be just as wild.

Hugh Grant is excellent as Nigel Dobson as a British man who is intrigued by Benton’s story as he tries to make sense of what is happening while wondering if he’s being played as he provides some humor as well as a humility in the film’s third act where he awkwardly tries to woo Mimi. Peter Coyote is brilliant as Oscar Benton as an American writer living in Paris who falls for Mimi as she represents everything he wants in a woman only to get bored and later succumb to paralysis as he tells Nigel his story with an air of discontent as it’s a slimy yet playful performance from Coyote. Finally, there’s Emmanuelle Seigner in a spectacular performance as Micheline “Mimi” Bouvier-Benton as a young woman who aspires to be a dancer as she falls for Oscar only to become desperate to please him to the point of great humiliation and later rebellion and unhappiness as it’s a performance filled with energy and danger that isn’t seen often in films.

Bitter Moon is a phenomenal film from Roman Polanski. Featuring a great ensemble cast, compelling themes of passion and desire through sex and humiliation, gorgeous visuals, a chilling setting, and a killer music soundtrack. The film is definitely an off-kilter yet intriguing suspense-drama that play into the ideas of passion and some of the fallacies that occur prompting another couple to raise questions about their own marriage. In the end, Bitter Moon is a sensational film from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac – The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) – Chinatown - The Tenant – Tess (1979 film) - (Pirates) – Frantic - Death and the Maiden – The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) – (Based on a True Story) – (An Officer and a Spy) - (The Palace)

© thevoid99 2018

Lou Reed-Berlin: Live at St. Ann's Warehouse

Directed by Julian Schnabel, Berlin: Live at St. Ann’s Warehouse is a concert film held during five nights in 2006 where Lou Reed performs his 1973 album in its entirety. The film features Reed performing his album in its entirety for the very first time as it is considered one of his finest work despite its harsh reception upon the album’s initial release. Joined by a live band that includes the album’s producer Bob Ezrin conducting an orchestra as well as Antony Hegarty and Sharon Jones singing backing vocals and an appearance by Emmanuelle Seigner in film clips shot by Lola Schnabel. The result is a wondrous and enchanting film from Julian Schnabel.

In 1973, Lou Reed released his third solo album Berlin which was considered a daring release for the artist for the man who was a founding member of the seminal 1960s underground art-rock band the Velvet Underground. Yet, the album was not well received critically upon its initial release as it also did poorly on a commercial level where audiences were expecting another Transformers that Reed did previously that spawned the hit Walk on the Wild Side. Over the years, the album would gain a reputation as one of Reed’s finest works as the concert film has him playing the album in its entirety for the very first time in a series of five concerts held in December of 2006 at Brooklyn’s St. Ann’s Warehouse. Augmented by longtime band members in drummer Tony “Thunder” Smith and bassist Fernando Saunders, Reed is also joined by guitarist Steve Hunter who played on the original album while that album’s producer Bob Ezrin serves as a conductor.

The film opens with an introduction by Julian Schnabel about how much the film means to him as he would introduce the show as it would feature these exotic super-8mm films in the background of stage where Emmanuelle Seigner plays the character of Caroline. Also performing with Reed and his band are keyboardist/pianist Rupert Christie, the Brooklyn Children’s Choir, a string quartet, a small brass section, and special backing vocals from Antony Hegarty of Antony and the Johnsons and Sharon King of Sharon King and the Dap-Kings. Schnabel and cinematographer Ellen Kuras would go for something that is intimate while getting very few perspective shots from the audience in favor of capturing the performance and what the album could unveil from a visual perspective through Lola Schnabel’s 8mm film footage.

With its use of close-ups and medium shots as well as a few wide shots, Schnabel maintains that intimacy into the performance where it’s not about anything that is wild or comical. Instead, Reed keeps things forward while it is clear that he’s glancing at his lyrics for some of the songs which isn’t a bad thing. At the same time, he lets some of the other musicians to shine in the performances as Schnabel uses a lot of close-ups for those moments along with stylish editing by Benjamin Flaherty who would do amazing work in using super-imposed dissolves for the 8mm footage in some of the songs that are performed. With the help of sound mixer John Harris and re-recording mixer Tony Valonte, Schnabel makes sure that things do sound great in terms of how powerful the songs are as the encore includes a duet between Reed and Hegarty for the Velvet Underground song Candy Says plus a couple of others in the encore such as Rock Minuet and another Velvet Underground song in Sweet Jane to close the show.

Berlin: Live at St. Ann’s Warehouse is an exquisitely rich and compelling concert film from Julian Schnabel that features a mesmerizing performance from the late Lou Reed. Fans of Reed will no doubt want to see this as well as get the chance to hear Berlin be performed in its entirety as it’s presented by a fan/friend who manages to make it more than just a concert film. In the end, Berlin: Live at St. Ann’s Warehouse is a remarkable film from Julian Schnabel.

Julian Schnabel Films: Basquiat - Before Night Falls - The Diving Bell and the Butterfly - Miral - At Eternity's Gate - The Auteur #43: Julian Schnabel

© thevoid99 2015

The Diving Bell and the Butterfly

Based on the memoir of Jean-Dominique Bauby, Le scaphandre et le papillon (The Diving Bell and the Butterfly) is the story about the famed editor of Elle magazine who suffered a stroke at the age of 43 where he would become paralyzed as the only part of his body that moves is his left eye as he would tell his own story from that eye. Directed by Julian Schnabel and screenplay by Ronald Harwood, the film is an unconventional bio-pic as Mathieu Almaric plays the role of Bauby from the man who had a charmed life as he later succumbs to paralysis as he copes with the remaining days of his life. Also starring Emmanuelle Seigner, Marie-Josee Croze, Anne Consigny, Isaach de Bankole, and Max von Sydow. Le scaphandre et le papillon is a majestic yet rapturous film from Julian Schnabel.

In 1995 at the age of 43 while driving with his son, Jean-Dominique Bauby suffers a stroke as he wakes up three weeks later realizing he is paralyzed as the only thing he can see and feel is from his left eye. Throughout the course of the film, Bauby would use his eye to communicate with the help of a kind nurse in Henrietta (Marie-Josee Croze) through a series of letters that are used frequently where Bauby would write his memoir with the help of an editor in Claude (Anne Consigny) as he would reflect on his own life as well as his own life with his ex-girlfriend Celine Desmoulins (Emmanuelle Seigner) and their three children. Bauby also talks about the day of his stroke and his meeting with his father (Max von Sydow) as he begins to contemplate about the days he has left in his own life.

Ronald Harwood’s screenplay definitely plays with a back-and-forth narrative structure of sorts since it is told largely from Bauby’s perspective about the life he had as well as the life he is having as a paralyzed man. Much of it would involve aspects of what Bauby did as well as his frustrations of having to live where his left eye is the only thing that is working as he thinks about sex and football. The film’s title serves as a metaphor for the life that Bauby is in as it would appear in a series of surrealistic things that are playing in his head including things that aren’t from his time as Harwood uses a lot of voice-over narration to play into Bauby and his struggles. Even as he reveals flaws into who he is as a person as he is someone that is very selfish and sleeps around with various woman as he even fantasizes about the women who are helping him. Upon knowing that he’s got a limited amount of time, the self-reflective approach to the narrative not only helps Bauby but display someone who is trying to find some kind of redemption as the script allows him to do that.

Julian Schnabel’s direction is truly mesmerizing for the way he shoots nearly half of the film from Bauby’s perspective as if the camera is playing the role of Bauby’s left eye. There’s elements of hand-held cameras with blurry edges to play into that idea that the camera is Bauby where it shows an idea of how he is feeling and how he is coping with being paralyzed. Scenes shot outside of the eye has this sense of style in the way Schnabel he shoots photo shoots as well as scenes on the beach where Bauby is surrounded by his children. The scenes involving Bauby and his father are among the most intimate and powerful to showcase this relationship that is quite unique as they’re both going through some form of illness. Schnabel’s approach to metaphoric images are entrancing as it plays to some of the surreal elements in the film yet they do make sense into what Bauby is dealing with as he is a man coping with death and aspect of his own charmed but troubled life. Even as Schnabel creates compositions and framing devices to play into the man’s final days as it showcases the kind of life that Bauby had and how he refused to die without making some kind of difference. Overall, Schnabel creates a very enthralling yet intoxicating film about a man dealing with death as the only part in his body with any sense of life is his left eye.

Cinematographer Janusz Kaminski does incredible work with the film‘s cinematography from the usage of colors and lights for the scenes shot from the perspective of the eye with some scratchy blurs and images to some of the interior/exterior scenes including the use of gorgeous colors and lights for a sequence at Lourdes where Bauby is intrigued by elements of spirituality. Editor Juliette Welfing does amazing work with the editing with its usage of jump-cuts as well as creating a few montages and other stylistic cuts to play into Bauby‘s dizzying life. Production designers Michel Eric and Laurent Ott do brilliant work with the look of the hospital room and its hallways including some very mesmerizing scenes of shops at the city of Lourdes.

Costume designer Olivier Beriot does nice work with the costumes from the casual clothes of the main characters to some period clothing presented in a few surrealistic scenes in Bauby‘s head. Sound editor Francis Wargnier, with mixer Dominique Gaborieau and recordist Jean-Paul Mugel, does fantastic work with the sound to create textures into Bauby‘s narration as well as what he might be hearing in his head along with some of the atmosphere in the locations. The film’s music by Paul Cantelon is wonderful as it’s mostly low-key with its plaintive piano score to play into the different moods of the film while Schnabel supervises the film’s soundtrack that features music from the Velvet Underground, Tom Waits, U2, Joe Strummer and the Mescaleros, Charles Trenet, Emmanuelle Seigner with Ultra, and the Dirtbombs.

The film’s phenomenal ensemble cast includes some notable appearances from Lenny Kravitz as himself in a photo shoot, photographer Jean-Baptiste Mondino, Michael Wincott, Jean-Pierre Cassel in a dual role as a Lourdes vendor and a friend of Bauby, Elvis Polanski as a young Bauby, Gerard Watkins as a doctor, Marina Hands as Bauby’s Lourdes’ date Josephine, Niels Arestrup and Isaach de Bankole as friends of Bauby who visits him, Agathe de La Fontaine as his mistress Ines, Olata Lopez Garmendia as a therapist, Patrick Chenais as the doctor who would tell Bauby his condition, Emma de Caunes in a fantasy version of Empress Eugenie, and as the trio of Bauby’s children with Desmoulins, there’s Theo Sampaio, Fiorella Campanella, and Talina Boyaci. Max von Sydow is brilliant as Bauby’s father as a man who hopes for his son to go into a better path as he also copes with his own stroke.

Emmanuelle Seigner is excellent as Bauby’s ex-girlfriend Celine Desmoulins who is the mother of his three children as she reconnects with him in the wake of his illness as she provides the reasons for him to be faithful. Anne Consigny is amazing as Claude who would help Bauby write his memoir as he is intrigued by her beauty. Marie-Josee Croze is fantastic as the nurse Henriette Durand who would be the one to communicate with him through an alphabet system that she would perfect as she would help others in communicating with him. Finally, there’s Mathieu Almaric in a magnificent performance as Jean-Dominique Bauby as he brings a sense of cool and charm to the man in his prime as well as a selfishness and confusion. When he’s paralyzed, Almaric maintains a restraint to his role where he uses his own left eye to do the performance as it’s just astonishing to watch.

Le scaphandre et le papillon is an outstanding film from Julian Schnabel as it features a phenomenal performance from Mathieu Almaric as Jean-Dominique Bauby. Along with a great supporting cast, some amazing technical work from Janusz Kaminski and Juliette Welfing, Ronald Harwood’s screenplay, and a mesmerizing soundtrack. The film is definitely very unconventional in terms of its presentation as well as creating something that feels very engaging in a way a man deals with mortality. In the end, Le scaphandre et le papillon is a tremendously powerful film from Julian Schnabel.

Julian Schnabel Films: Basquiat - Before Night Falls - Berlin: Live at St. Ann’s Warehouse - Miral - At Eternity's Gate - The Auteurs #43: Julian Schnabel

© thevoid99 2014

Roman Polanski: Odd Man Out

Directed by Marina Zenovich, Roman Polanski: Odd Man Out is a sequel to Zenovich’s 2008 film Roman Polanski: Wanted and Desired that explores Roman Polanski’s extradition battle in 2009 over the 1977 statutory rape crime that he committed as the U.S. wants to arrest him for that charge. The film explores Polanski’s legal battle to fight the U.S. justice system as well as what happened to him in Switzerland when he was arrested where Zenovich reveals some links into what happened and such. The result is a very fascinating and compelling documentary from Marina Zenovich.

In 2008’s documentary film Roman Polanski: Wanted and Desired, director Marina Zenovich wanted to explore Polanski’s 1977 case over raping 13-year old Samantha Gailey at Jack Nicholson’s house in Los Angeles where he was later arrested and plead guilty to the charge only to flee the U.S. due to a miscarriage of justice by a judge who wanted to sentence Polanski even worse than his original sentence. In the fall of 2009 when Polanski flew to Zurich, Switzerland to attend its film festival to accept an award, he is arrested by the Swiss government for that case where Zenovich makes her follow-up to examine the extradition case and why did the Swiss rat out Polanski to the U.S.

While Zenovich is featured in the documentary where she used her film as evidence in the extradition case in Los Angeles. She also examined what might’ve motivated the Swiss to give in to the U.S. where it might’ve involved their own troubles with their banks as the U.S. were demanding records over any U.S. accounts in their banks. Even as she interviews journalists and legal advisors who believe that there might’ve been a link into why the Swiss wanted to turn Polanski over the U.S. authorities where he would end up being arrested and later in house-arrest in his home in Gstaad for more than 260 days. Though Polanski nor his wife Emmanuelle Seigner and their children are interviewed for the documentary. They are featured where Seigner, through news clips, reveals her own feelings as well as well as some of the things she and her children had to go through in Paris during this ordeal.

Then there’s Samantha Geimer (nee Gailey) who is the victim the case as she is interviewed along with her mother as Geimer gives her opinion about the extradition case. Notably as she is upset over the fact that it took the U.S. justice system a long time to do that and bring all that pain back to her family who wanted to move on from the incident. It’s not just Geimer and her family who were suffering from the ordeal but also Polanski’s family as his arrest would nearly cripple the post-production of his 2010 film The Ghost Writer where his longtime editor Herve de Luze is interviewed about his time in Switzerland where he and Polanski edited the film on a laptop inside the jail cell that Polanski was in before his house arrest.

Most of the interviews, with the help of cinematographer Tanja Koop and sound mixer Tyler Bender, are conducted in rooms while Geimer and her family are interviewed in their home in Hawaii as Zenovich doesn’t try to make her presence known except in the end where she films Polanski accepting his award in Zurich without any trouble. Still, Zenovich does ponder if her previous documentary either helped or hurt Polanski where she also showcases that sense of public opinion through news footage that is gathered with the help of editor Chris A. Peterson. Most notably as Zenovich even captures footage of the extradition trial in Los Angeles which showcases some of the fallacies of the legal system.

Roman Polanski: Odd Man Out is an excellent documentary from Marina Zenovich. The film is a superb follow-up to Zenovich’s previous documentary on Polanski though she doesn’t reveal anything new about what she explored in the last film. Still, she does manage to reveal a lot more about the motivations between the U.S. and Switzerland in trying to go after Polanski as well as the people who were suffering in that ordeal as the case did eventually end on a good note. In the end, Roman Polanski: Odd Man Out is a fantastic film from Marina Zenovich.

© thevoid99 2013

In the House (2012 film)

Based on the play The Boy in the Last Row by Juan Mayorga, Dans la maison (In the House) is the story about a 16-year old student whose visits to a house of another student has him creating story that intrigues his teacher as he encourages him to continue further as it leads to troubling consequences. Written for the screen and directed by Francois Ozon, the film is a look into the world of fantasy and reality as a teacher’s encouragement for his student to venture more would lead to some very surprising results. Starring Kristin Scott Thomas, Fabrice Luchini, Ernst Umhauer, and Emmanuelle Seigner. Dans la maison is an incredibly rich and mesmerizing film from Francois Ozon.

The art of writing requires the writer to go deep into a world and see something as if they’re watching something happening in front of them and thinking that else is happening around them. The film is about the art of writing as it involves a jaded literature teacher and his 16-year old student as the latter writes an assignment about his weekend that intrigues the teacher who believes the student has a gift for writing. The boy would make more visit to his friend’s home where he becomes an acquaintance to the family while the teacher encourages him to get more into deep with the story where the results would have some serious consequences for those involved. It’s all part of a world in which a teacher who tries to guide his pupil to discover his talents even further yet the idea of reality and fiction eventually blurs.

Francois Ozon’s screenplay explores this conflict into the world of reality and fiction as there’s these two individuals who definitely seem like there’s nothing for them. For the teacher Germain (Fabrice Luchini), he feels like he has nothing to prove as a teacher as his students are just kids who don’t really seem to care about literature until someone actually writes the assignment in the form of a gifted 16-year old student in Claude (Ernst Umhauer). Claude writes about spending his time at the home of his classmate Rapha (Bastien Ughetto) to help with him with math as Claude is intrigued by Rapha’s father (Denis Menochet) and mother Esther (Emmanuelle Seigner). Germain’s wife Jeanne (Kristin Scott Thomas) would also read Claude’s stories as she is also intrigued as it gives her some distraction from her failing art gallery in a subplot for the film.

Once the story progresses where Germain becomes a character of Claude’s story as he would pop up in the story to help Claude with what to do next. Things become much more complicated as Jeanne invites Rapha’s parents to her gallery while Germain would get an uneasy confrontation from Rapha’s father over an article Rapha wrote in school. Eventually, the idea of reality and fiction becomes confusing and troubling as it progresses to the point where Claude starts to believe things are really happening though it begs the question about fiction and reality. Even as Claude and Germain try to figure out how to end things where Germain thinks he’s created a monster while Claude becomes confused about everything he’s experienced in the home of this quaint yet loving family as they’re going through some troubles of their own.

Ozon’s direction is very entrancing for the way he explores the world of French high school life where students are more concerned with other things than education while teachers are just trying to get through the day. While some of Ozon’s compositions are simple in terms of its framing with some moments that are just hypnotic. The way he infuses the idea of reality and fiction has some moments of humor but also is quite dramatic where Germain is commenting on what Claude is doing and the dramatic impact it will play into the story. Notably as it plays to some tension as it features scenes of Rapha’s father dealing with his own issues at work as well as Claude’s growing attraction towards Esther.

Things do become much more provocative as the film progresses though it’s done with some restraint where Germain starts to imagine that something dreadful might’ve happened. There is an element of suspense in the story once the story that Claude is writing does go into dark places as Germain becomes more involved in guiding Claude to go more out there with his writing by giving him books and such. Even as the drama and suspense intensify in the third act where Claude is trying to find a resolution to end his story where things do become chaotic though it was expected due to Germain’s involvement. Overall, Ozon crafts a very rich and exhilarating film about the art of writing and the consequences from one man’s encouragement.

Cinematographer Jerome Almeras does excellent work with the film‘s cinematography as it‘s mostly straightforward and colorful with some low-key lighting schemes for some of the nighttime interior scenes. Editor Laure Gradette does fantastic work with the editing that includes a stylized opening credits sequence of a day in life in school along with some very methodical cuts to build up the suspense. Art director Pascal Leguellec does wonderful work with the art direction from the look of Jeanne’s gallery to the quaint home of Rapha’s family

Costume designer Pascaline Chavanne does nice work with the clothes as it‘s mostly casual with some stylish look in the school uniforms and the clothes that Jeanne and Esther wear. Visual effects supervisor Mikael Tanguy does terrific work with the minimal visual effects look for Jeanne‘s twin bosses. Sound editor Benoit Gargonne does some superb work with the sound to capture the atmosphere of the scenes in school to the more intimate moments at Rapha‘s home. The film’s music by Philippe Rombi is brilliant as it is filled with lush orchestral arrangements and somber piano pieces to play up some of its drama and suspense.

The casting by Sarah Teper is amazing as it features some notable small roles from Yolande Moreau as twin owners of Jeanne’s art gallery and Jean-Francois Balmer as Germaine’s superior. Denis Menochet is excellent as Rapha’s father who is dealing with his own issues at work while Bastien Ughetto is terrific as Rapha who befriends Claude as he becomes confused by his feelings while being confused by Germain’s concern towards him. Emmanuelle Seigner is wonderful as Rapha’s mother Esther who is wary about Claude at first only to realize that he pays some attention to her while dealing with the issue she’s having with her husband. Ernst Umhauer is brilliant as Claude as a man with a sense of imagination and a gift for writing as he becomes more invested in his visits to Rapha’s family as he starts to lose sight of himself.

Kristin Scott Thomas is superb as Germain’s wife Jeanne who is dealing with her own issues as she’s intrigued by Claude’s writings as she gives out her own opinions that would prove to be fruitful in the writing process. Finally, there’s Fabrice Luchini in a marvelous performance as Germain as a jaded teacher who is amazed by Claude’s writing as he encourages him to write better only for things to go out of control as Luchini brings a lot of dramatic weight as well as some humor in his performance.

Dans la maison is an outstanding film from Francois Ozon. Thanks to a captivating theme on the art of writing as well as top-notch performances from Fabrice Luchini, Kristin Scott Thomas, and Ernst Umhauer. It’s a film that is definitely engaging for the way things can become real even if it’s fiction as it explores some of the ideas of what writing is and what it can be. Overall, Dans la maison is a tremendous achievement from Francois Ozon.

Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - Under the Sand - 8 Women - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - Le Refuge - Potiche - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon

© thevoid99 2013

Frantic

Directed by Roman Polanski and written by Roman Polanski and Gerard Brach with additional contributions by Robert Towne and Jeff Gross, Frantic is the story about an American doctor who travels to Paris to visit his wife as she suddenly disappears prompting him to go on a search for her whereabouts all over the city. The film is a suspense story that revolves a man’s desire to find his wife as he gets help from a young street-wise woman who knows about the dark underworld that is in the city. Starring Harrison Ford, Betty Buckley, John Mahoney, and Emmanuelle Seigner. Frantic is a gripping yet mesmerizing thriller from Roman Polanski.

When the wife of an American doctor is kidnapped in Paris where her husband is trying to find her whereabouts. It is often in the schematics of things for the man to go on the search for his wife by himself. While the film does play into that, it revolves around a suitcase that later belongs to someone else as its owner is a young woman who was supposed to smuggle something in the suitcase unaware of its contents. Once this doctor and young woman figure out why they’re attracting trouble over a suitcase. What occurs is the fact that there is an object in the suitcase that some very important people want as this doctor and young woman are caught in the middle as all the doctor wants is his wife back.

The screenplay by Roman Polanski and Gerard Brach does play with the conventions of a suspense-thriller that often involves kidnapping angles. Yet, they add other elements to the stories such as the fact that the film’s protagonist in Dr. Richard Walker (Harrison Ford) has to deal with not just some of the American bureaucracy involved as it complicates issues in the search for his wife. There’s also all sorts of people that wants something in this suitcase that belongs to this young woman named Michelle (Emmanuelle Seigner). While Michelle admits that she smuggles drugs for a dealer, she has no idea about some of the contents she was carrying in that suitcase. All because Michelle and Dr. Walker’s wife Sondra (Betty Buckley) each got the wrong suitcase, a whole lot of trouble comes in as Sondra is kidnapped and Dr. Walker goes on this frantic search to find her.

The script does explore the idea of how police and these American political issues complicate things for Dr. Walker as they’re more concerned about other things. Notably as it would also involve various people where Dr. Walker and Michelle realize what they’re after. For Dr. Walker, he can use this object as a bargaining chip to get his wife back while Michelle just wants money for bringing the object to them. Still, they have to deal with forces who are very dangerous and this object, which is a Macguffin, is what everyone else is after where Dr. Walker would finally take control of this deal.

Polanski’s direction is quite entrancing for the way he explores the world of kidnapping and a man’s desire to retrieve his wife. Notably as he creates a lot of interesting compositions to establish the sense of mystery that occurs in the film. Shot on location in Paris, Polanski creates something where it does involve this American who doesn’t speak much French as he’s either dismissed or misinterpreted by the locals. Yet, he does get help from a few people who understand what he’s going through. Polanski uses close-ups to unveil some of the tribulations that Dr. Walker is going through as well as some eerie moments in the nighttime moments where Dr. Walker is trying to uncover the mystery. In this world full of nightclubs filled with lots of reggae music, Dr. Walker is definitely in a world that he doesn’t really know much about as it is a very seedy side of Paris.

Polanski’s direction also allows the film to have a bit of humor such as a scene of Dr. Walker walking on the roof of Michelle’s apartment with the suitcase that reveals his sense of awkwardness while some of the humor also comes from Michelle who is just a young woman that likes to chew bubblegum. Polanski also create moments where he allows the characters to improvise a bit to get out of situations while maintaining that sense of suspense that is prevalent through the film. Notably in the final showdown involving Dr. Walker, Michelle and the people who has Sondra where it is about who gains what yet there are also forces that want something as Polanski maintains that intensity in the suspense. Overall, Polanski crafts a very engaging and chilling suspense film that doesn’t lose sight of its intentions as well as its characters.

Cinematographer Witold Sobocinski does excellent work with the cinematography from some of the nighttime interior shadings in the apartments and at Dr. Walker‘s hotel room to some of the look of Paris at dawn in some of the film‘s exterior scenes. Editor Sam O‘Steen does brilliant work with the editing by using some methodical rhythmic cuts to play out some of the film‘s suspenseful moments as well as some of its comical moments. Production designer Pierre Guffroy does nice work with the look of the hotel rooms that Dr. Walker is staying at as well as the apartment that Michelle lives in.

Costume designer Anthony Powell does wonderful work with the costumes from the stylish clothes of Michelle to the more reserved look of Dr. Walker. Sound editor Laurent Quaglio does fantastic work with the sound to capture the atmosphere of the nightclubs as well as some of the eerie moments in the film. The film’s music by Ennio Morricone is phenomenal as Morricone creates this haunting score filled with ominous string arrangements with a bit of guitar in the mix to play out some of its suspense and drama as it’s one of his more overlooked scores in his revered career. The soundtrack features a mix of jazz and electro-pop music with a dash of reggae as it includes contributions by Simply Red and Grace Jones to play out the sense of youth that Michelle revels in.

The film’s cast is amazing as it features some notable small roles from Dominique Pinon as a wino who witnessed what happened to Sondra, Dominique Vitron as the hotel desk clerk, Jacques Ciron as the hotel manager, Jimmie Ray Weeks and John Mahoney as U.S. embassy officials, Thomas M. Pollard as a Rastafarian that Dr. Walker meets, David Huddleston as a colleague Dr. Walker meets at the airport, and Yorgo Voyagis as the kidnapper. Betty Buckley is terrific as Dr. Walker’s wife Sondra who becomes a victim of troubling circumstances in order to get an object that Michelle was supposed to deliver.

Emmanuelle Seigner is superb as the street-wise Michelle who helps Dr. Walker navigate through the streets of Paris to find Sondra while being a woman with her own agenda as it’s a wonderful debut performance for the actress. Finally, there’s Harrison Ford in an incredible performance as Dr. Richard Walker as a man who is just determined to find his wife where Ford brings the every-man into the character as well as a vulnerability that allows him to be very engaging in the plight that he’s facing.

Frantic is a marvelous suspense-thriller from Roman Polanski that is highlighted by the brilliant performances from Harrison Ford and Emmanuelle Seigner. While it’s a thriller that does play to conventional tactics, Polanski is able to make it very engaging as well as bring a sense of human drama that is prevalent through the film. It’s also one of Polanski’s more overlooked films for the fact that he is able to create something that does more for the suspense genre. In the end, Frantic is a masterfully-crafted thriller from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates (1986 film)) - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Olivier Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2013

The Ninth Gate

Based on the novel El Club Dumas by Arturo Perez-Reverte, The Ninth Gate is the story of a rare book dealer asked by a book collector to find a rare book that features elements of the occult as he finds himself dealing with all sorts of trouble. Directed by Roman Polanski and screenplay by Polanski, John Brownjohn, and Enrique Urbizu, the film is an exploration of a man who delves into strange encounters with the occult as he travels around Europe to find this book unaware of its content. Starring Johnny Depp, Lena Olin, Emmanuelle Seigner, Barbara Jefford, and Frank Langella. The Ninth Gate is an intriguing and entertaining thriller from Roman Polanski.

Dean Corso (Johnny Depp) is a rare book dealer who likes to make deals for large sums of money as he’s called upon by wealthy book collector Boris Balkan (Frank Langella) to find two additional copies of a book he has called The Nine Gates of the Kingdom of Shadows that he had just bought from a man who just killed himself. Corso takes the job to find the two books as he later meets the dead man’s widow Liane Telfer (Lena Olin) who revealed that her husband bought the book for her as she tries to seduce Corso in order to get the book back. Corso instead flees to Europe under Balkan’s orders as he travels to Spain to meet a couple of twin book restorers in the Cenzia brothers (Jose Lopez Rodero) where they show Corso clues about the book that could differentiate between the other two.

Arriving to Portugal to meet the owner of the second book in Victor Fargas (Jack Taylor) where Corso notices the differences in the copies as he makes notes unaware that he’s being followed until a mysterious woman (Emmanuelle Seigner) arrives to help him out in odd moments. Particularly when Corso realizes someone is after the other copies as he goes to Paris to meet the owner of the third book in another collector in Baroness Frida Kessler who refuses Corso knowing who is his employer until Corso shows her something. Yet, trouble brews as Corso realizes that he is being followed a man (Tony Amoni) until the mysterious woman saves him. After discovering what all three books contain in their differences, Corso and the mysterious woman realize that Liane Telfer is after them for her own Satanic ceremony. Yet, Corso learns that something else happens during the ceremony that would change things as he decides to become more involved.

The film is essentially the story of a sleazy rare book dealer who is asked by a wealthy collector to find copies of two other books to see which one is authentic. Yet, he realizes that he finds himself in all sorts of trouble that involves the occult and other strange forces that wants the content of the book for reasons that he doesn’t understand. It’s a premise that is interesting as it features not just a lot of ambiguity but also a bit of humor as Roman Polanski and his co-writers take their time to poke fun a bit at the occult while playing around with the usual schematics where characters are killed off while some things are left unanswered. Still, Polanski and his co-writers are able to create characters that are interesting like Dean Corso who is kind of a sleazebag in the way he makes deals but does become aware that there’s some things more important than money.

Polanski’s direction is definitely stylish as he shoots the film largely in Paris and various locations in Spain and Portugal. Through some amazing compositions and extravagant set pieces, Polanski creates a film that is about a man’s encounter with the occult. Even as Polanski uses suspense as something to help tell the story while playing around with it. One major flaw in the film is Polanski’s use of visual effects backdrops which do become distracting and feels fake. Particularly in a few sequences set in New York City for some of its exteriors except for some shots that were actually set in Paris. The film’s ending is also quite ambiguous into not just who the mysterious woman that Corso meets but also everything else he had gone through. Overall, Polanski creates a very engaging and witty thriller that plays around with its conventions and keep things exciting.

Cinematographer Darius Khondji does excellent work with film‘s very colorful and stylish photography from the naturalistic look of the exterior locations to more exotic scenes at night in its interior and exteriors including the film‘s climax. Editor Herve de Luze does nice work with the editing to create some stylish cuts to help the film move quite briskly while slowing things down for its suspenseful moments. Production designer Dean Tavoularis, along with set decorator Philippe Turlure and art director Gerard Viard, does fantastic work with the set pieces such as Balkan‘s room of books as well as the look of the mansion where Liane does her ceremony.

Costume designer Anthony Powell does terrific work with the costumes from the more casual clothes of the mysterious woman to the more posh clothing of Liane Telfer. The visual effects work of Johann Quere is decent at times for some scenes though the backdrops are very dodgy in their look. Sound editor Laurent Quaglio does wonderful work with the sound to capture the atmosphere of some of the locations including some of the film‘s more suspenseful moments. The film’s music by Wojciech Kilar is great for its orchestral bombast and serene themes to play up not just its suspense but also in some light-hearted themes to play up its humor.

The casting by Howard Feuer is brilliant for the ensemble that is created as it features some noteworthy small performances from James Russo as Corso’s friend Bernie, Tony Amoni as Liane’s bodyguard, Jose Lopez Rodero as the Ceniza brothers, and Jack Taylor as the book collector Victor Fargas. Barbara Jefford is excellent as the very eccentric collector Baroness Frida Kessler while Lena Olin is wonderful as the very crazed Liane Telfer. Emmanuelle Seigner is superb as the mysterious woman who helps Corso as she has this strange but evocative presence that has humor but also an air of ambiguity. Frank Langella is terrific as the very ambiguous Boris Balkan who craves to have these three books to see which one is authentic only to reveal his true intentions. Finally, there’s Johnny Depp in a remarkable performance as Dean Corso as a man who is quite quirky but also a bit of a dick as he finds himself unaware of the trouble he brings as it’s a very witty performance from Depp who allows his character to display some humility.

The Ninth Gate is a very good and fun suspense-thriller from Roman Polanski that features top-notch performances from Johnny Depp, Frank Langella, and Emmanuelle Seigner. While it doesn’t rank up there with some of Polanski’s more regarded films, it’s still a film that is entertaining. Particularly as it refuses to take itself seriously despite some of the flaws the film has. In the end, The Ninth Gate is a terrific film from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates (1986 film)) - Frantic - Bitter Moon - Death and the Maiden - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2012

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