Tag Archives: drugs

Good Time – Review

28 Sep

Every now and then, a movie comes along that completely destroys the conventions of its genre. Sometimes that works well, and other times it holds the movie back. It all depends upon the creative force behind the project. Ben and Josh Safdie have recently proven that they are more than capable to create a movie that defies all the rules expected in a feature film. Their newest film, Good Time, is the perfect example. The trailers for this movie had me really intrigued, but I didn’t get the proper feel of the style going into it. I honestly had no idea what to expect, but what I got was something so different and disturbing that I dare say this is a movie that should not be ignored. Good Time is a piece of art that defies all expectations and rules but also feels like one of the realest movies of 2017.

Constantine Nikas (Robert Pattinson) is a petty thief who is looking for a score that could potentially change his life. He’s careless in many ways, bust most of all by utilizing the help of his mentally challenged younger brother, Nick (Ben Safdie), with his crimes. After successfully robbing a small New York bank for $65,000, Constantine and Nick think that they’ve made it out scot free. That is until a police officer gets too close to Nick and scares him, which sends the two brothers off running with the police in hot pursuit. After a chase, Nick is arrested, while Constantine ultimately gets away. After hearing about the abuse Nick is forced to put up with, Constantine begins an odyssey into the underbelly of New York City to raise $10,000 to bail his brother out of jail. As the night progresses and more altercations keeps Constantine from the money he needs, his desperation starts to wear him down and reveal a side of himself he didn’t want to believe existed.

Something that I sort of guessed about Good Time is that it would feel very episodic. I had Collateral in mind before seeing this movie, but the two really don’t share many similarities. Good Time is very un-cinematic in the way it tells its story, and I found it a bit hard to grasp onto at first. The beginning of the movie really pulled me in, but it became hard to find the rhythm the story was moving at. After awhile, I decided to stop looking for it. I would simply let the film wash over me and wherever it went, I went. This is one of those movies that it all makes sense after it’s over and looking back on it, I appreciate it more than I did as I was watching it. Scenes lead into the next almost at random as small occurrences that seem minor are enough to shake up the lives of the few characters that share the screen. There’s little rhyme or reason as to why things happen, just that it’s the sole consequences of the characters and not for the sake of driving the plot forward. Some may say it’s anticlimactic. I say it’s brilliant.

Speaking of un-cinematic, the look of Good Time is really something to behold. It was sort of marketed as this neon lit trip down the rabbit hole like something out of the mind of Nicolas Winding Refn. There are a few scenes that do go a little over the top with the lighting, and sometime it was a bit distracting. For the most part, however, that is not the style of this film. This is a grimy, dirty, and highly unflattering film. The sets are run down and gross and the actors are made to look their worst. These are bad people operating out of bad places and the Safdie brothers really work to make that clear. A lot of scenes are also shot using off balanced angles with the foreground obstructing the view or close ups that come across as jarring. This is a disturbing film and this is really the only way this film could’ve been shot. Any other way would’ve robbed the audience of the proper tone. I do wish that some scenes toned it down with the lighting however. They didn’t always fit.

A while ago, I reviewed The Rover and I commented on Robert Pattinson’s understated but superb performance. Pattinson is one of those actors who can give an unexpectedly brilliant performance when paired with the right script and film maker. His understated performance in The Rover works really well, but his performance in Good Time is something else. This one is much more kinetic, dark, and completely devoid of innocence. His command of the screen is evident in this film and the weight of the character is clearly heavy, but he carries it all very well. Ben Safdie as his mentally challenged younger brother also gives a startlingly real performance that I wasn’t really expecting. There’s a strange cameo in the beginning by the always excellent Jennifer Jason Leigh to top off the cast of excellent performers. This may be one of the best acted movies of the entire year.

Good Time is a truly unique cinematic experience by the Safdie brothers. I’m unfamiliar with their earlier works, but if it’s anything like this I really need to check it out. That being said, I’d love to see more from them in the future because this felt like pure, in your face cinema. This is a darkly disturbing film that will make you long for the shower after the credits start to roll. If you have become overwhelmed with the summer blockbusters that have all come and gone, take a look at Good Time, but make sure you buckle in first.

Final Grade: A

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Drugstore Cowboy – Review

28 May

In 1990, a novel by James Fogle was released. The text told an autobiographical tale of drug addiction, crime, and the consequences that come with the decisions to engage in that type of lifestyle. Interestingly enough, a movie called Drugstore Cowboy came out in 1989 which is based off of the novel that came out in 1990. Well, that’s a weird circumstance, but a lot of it had to do with the fact that Fogle was still in prison in 1989 and wasn’t released until the following year. With Gus Van Sant in the director’s chair and source material such as this, this film was bound to become something special.

Bob Hughes (Matt Dillon) is living life to the fullest. He has a beautiful girlfriend named Dianne (Kelly Lynch), he has friends that are willing to follow him to the ends of the earth, and he spends his days free of any kind of employment to live his life as a free spirit. He’s also addicted to all sorts of drugs, and will go to any lengths for a fix. His main source of pharmaceutical income is to rob drugstores blind. His luck seems to be coming to an end when a particularly invasive run in with Detective Gentry (James Remar) forces him to leave town and find new means of getting his fix elsewhere. Unfortunately, Bob and his crew can’t seem to catch a break and it doesn’t take long for tragedy to hit the group harder than they ever expected. This forces Bob to really examine what he’s done with his life and wether he’s willing to give it all up to finally find some stability or stick with his usual ways and live a life where death is right around the corner and paranoia is his right hand man.

In 1996, Trainspotting was released and changed the way films about drugs could be made. In 2000, Requiem for a Dream was released and this film redefined these rules. Before all that, however, was Drugstore Cowboy. This was a modern look at drug addiction that helped pave the ways for these other classic films. By today’s standards, Drugstore Cowboy is pretty tame, but it stands tall in the world of film history. This was a movie that showed a realistic and disturbing side to drug addiction, while also being darkly funny in its dialogue and minor idiosyncrasies that are present in all humans, even if they are addicted to world altering substances. This is where this film shines. It shows characters with deep flaws, other than the obvious, while also showing their strengths. It’s clear that Van Sant didn’t want to take sides, but rather depict addiction in its true form when it comes to physiology and the law.

With its meandering plot points and unfocused direction, Van Sant successfully portrayed the lifestyle he was trying to depict. In any other movie, this would be a fault, but since we’re talking about addicts who will hit the open road whenever they want to and completely relocate their lives, it works well. Something that doesn’t work all too well for me is how Van Sant examines the consequences of their actions. There are a few excellent scenes where the characters get what’s coming to them, and those are some of the more satisfying scenes of Drugstore Cowboy, because it makes the choices the characters make have more weight. Then again, there’s something that happens in the middle of the movie that doesn’t end up being resolved by the end. It’s also a little hard to believe these characters can remain so calm and appear so cool under certain circumstances right after how they just got done saying how desperate they are to get high. Maybe Trainspotting just spoiled me.

The writing in this movie is definitely unique. For most of the movie, we have characters in situations that I could really see happening. Matt Dillon is excellent as Bob Hughes, the leader of this gang of miscreants. He plays well with Kelly Lynch, James LeGros, and Heather Graham. Graham and LeGros have a chemistry all their own, which also adds good moments of comedy and serious drama. It’s also a real treat to see William S. Burroughs as a drug pedaling priest. The dialogue they are given often works well, like when Bob is talking about his different superstitions. There are times that it feels a little bit too theatrical, which is something I’ve seen in Van Sant’s work before. For a movie that is trying very hard to be realistic, it kind of loses me when hear a line that sounds like it was written for a movie and not for a character I’m supposed to believe is real.

Drugstore Cowboy is definitely a movie in this subgenre of drug movies that holds a firm spot in film history. It was an honest look at the lifestyle of these wandering addicts that I haven’t seen depicted before this film. I will say that I would have liked it to go a little bit farther. That means the movie could have been a little longer or maybe if the boundaries were pushed a little bit more. Still, despite the lack of grit that I would have liked to have seen, it shows characters that I’ll have no problem remembering and scenarios that are completely unique to this movie. It’s not my favorite movie on the topic, but it’s still a very good film.

Final Grade: B+

T2 Trainspotting – Review

7 Apr

One of my favorite movies of all time is the 1996 Danny Boyle film Trainspotting, which is based on a 1993 novel of the same name by Scottish author Irvine Welsh. This film seems to have always been with me since it seems like a week can’t go by without me referencing it or just having it cross my mind when a certain song comes on. I just love this movie to death, and to me it’s a perfect film. For years, a sequel has been talked about and going through different phases of production, but here we are in 2017 and we finally have T2 Trainspotting. This is a time of sequels and reboots and remakes, so a lot of people may be turned off by this idea, but Welsh did write a sequel in 2002 called Porno. With Boyle, screenwriter John Hodge and Irvine Welsh all back on board for this sequel, I was also on board and this film did not disappoint.

20 years after deceiving his friends and running off with a whole bag of money, Mark Renton (Ewan McGregor) finally returns to Scotland with the hopes of reuniting with friends and family. His friends all seem to be in different states of decay with Simon (Jonny Lee Miller) managing a run down bar and addicted to cocaine, Spud (Ewen Bremner) still a heroine addict who’s lost nearly everything, a Begbie (Robert Carlyle) in prison with a strong personal vendetta against Mark fueling his every action. Pretty soon, Mark and Simon get over their troubles with one another and turn, once again, to a life of crime with the plans of converting Simon’s bar into a brothel. They enlist the help of Spud and Simon’s girlfriend Veronika (Anjela Nedyalkova) to help wth the transformation. Things start to get out of hand, however, when Begbie escapes from prison and starts gunning for Mark, while Simon and Spud do their best to cover for him. Amongst all of the crime and the business plans, this gang’s past is quickly catching up to them and there’s nothing they can do about it.

I’d be lying to you if I said I didn’t nearly jump out of my seat when I saw each character return in their respective introductions. These are some of my favorite characters ever put to the screen, because no matter how troubled and deceptive they are, you can’t help but love them. It’s been 20 years since the original film came out, but the way these actors seamlessly return to their roles, it feels like the first film could have come out yesterday. The shenanigans they get into are very reminiscent of the first film without it ever feeling like Danny Boyle, John Hodge, and Irvine Welsh are just capitalizing on its success. This isn’t a film about nostalgia for the audience, but more so about the dangers of becoming to enraptured in your past that you’re unable to look forward, which is the case for most of the characters in this movie.

If  were asked to describe this movie in one word, I could easily give you the answer: seamless. This is a seamless transition into a sequel that feels so natural, it’s almost as if this were always meant to be. The end of the first film isn’t quite a cliffhanger, but it does leave the audience wondering if the certain betrayal that happens is enough to make them change their lives. This film answers that question with a resounding “no.” This is an excellent postscript to the questions that can arise at the end of the first film while offering a deeper understanding of these complicated characters as they enter middle aged life. While there is a sense of nostalgia and love of Trainspotting with small references to scenes from that movie, it comes with the danger that too much nostalgia will ruin your foresight, a theme that I just can’t get enough of.

While T2 Trainspotting is just the sequel I needed, it does come with a storytelling flaw that stops it from reaching the esteemed heights of its predecessor. I this movie, Mark and Simon are turning back to a life of crime in order to turn Simon’s bar into a brothel. Cool. I’m into that story. Meanwhile, Spud is dealing with his own problems, which get explored more when he’s brought into Mark and Simon’s plan. Also cool. What’s upsetting is that certain interesting plot points go nowhere after awhile in favor of something completely different to happen in the final act of the movie. Luckily, the plot points that are abandoned are not the most interesting parts of the movie, but it feels like a lot of time was wasted for such a big part of the story to just be completely abandoned like it never existed. It leaves the second act of the movie feeling disjointed and certain scenes feeling unnecessary. It’s kind of a weird decision and I’m not sure I fully understand why they took the movie in that direction.

T2 Trainspotting is exactly the sequel that the first film needed even if it doesn’t reach the level that its predecessor did. The bottom line is that I loved this movie. I really, really did. It’s like these actors never stopped playing these characters since they return with what seems like such ease. Danny Boyle and his crew also seem to not miss a beat with the kinetic editing and often outlandish style of the film. If certain plot points were cleaned up, I would have been very pleased, but the most interesting parts of the movie remain intact as the characters face elements of life that they just aren’t prepared for. I can’t wait to see this one again.

Final Grade: A-

Live by Night – Review

26 Jan

When it comes to movies he’s written and directed, Ben Affleck’s track record is one of the strongest in recent years. Movies like The TownGone Baby Gone, and Argo have enough intensity and depth to be remembered a hundred times over. When I saw his next project, Live by Night, was going to be a Prohibition era gangster movie, I was good to go. I’ve been looking forward to this movie after seeing the very first trailer for it months ago, and I felt even more hopeful when I saw that it was based on a novel by Dennis Lehane, who also wrote the novel Gone Baby Gone. Now, while there are plenty of really great things in this movie that are worth mentioning and getting excited about, Live by Night is probably the weakest entry in Affleck’s directing filmography.

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Joe Coughlin (Ben Affleck) is a World War I veteran who makes his small living through crime as a thief. He’s also madly in love with a woman named Emma (Sienna Miller), the wife of his boss and and head of the Irish Gang of Boston, Albert White (Robert Glenister). After this affair almost gets him killed and results in him losing Emma, Joe joins forces with Italian mafia boss and enemy of White Maso Pescatore (Remo Girone). Pescatore sends Joe to the Ybor City in Florida to help run his rum importing business that is being threatened by White. While in Florida, Joe falls in love and marries Graciela (Zoe Saldana), who is a major component of the importing business. Not everything goes smoothly however as rival factions, a tragic run in with the local sheriff and his daughter (Chris Cooper and Elle Fanning), and the looming danger of the Ku Klux Klan threaten this entire business, which forces Joe to become the violent man he never wanted to be again.

I have really mixed feelings about this movie that came up as I was writing the summary. It reminded me the biggest flaw that this movie has, and that is that there is so much crammed into a run time that barely has the ability to hold it all. There is around 3 and a half hours worth of material here that’s forced to fit in a movie that’s only a little bit over 2 hours. This makes for some weird pacing, plot lines that don’t get enough attention, and some characters that unfortunately lack enough development. Let’s start with the pacing of the movie. A lot of times when someone’s talking about the pace of a movie, they’re going to say how slow it felt. On the flip side of that, I felt like Live by Night went way too fast. There was a part in the middle where it slowed down to a crawl, but then picked up so fast I thought it was going to break my neck. This is what happens when there are at least five different main plots happening in a movie.

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Let’s look at the positives for a bit because this movie does have very cool elements. Affleck has shown us time and again that he is capable of filming a beautiful looking movie, and Live by Night holds up to that standard. The color pallets and sweeping camera work got the better of me at times and I just had to watch in awe at how amazing everything looked. This also a movie with incredible sound design. Every gunshot felt authentic and blasted through the theater’s sound system for optimal escapist effect. Speaking of sounds, Harry Gregson-Williams’ score is absolutely fantastic. Finally, this movie handles violence in a very interesting way that I’ve been seeing more in movies as of late. The violence is strong but the scenes of it are few and far between. Instead of making the violence look cinematic and fake, there’s this realism to it that really hit me as I was watching it, and reminded me a lot of how Affleck handled it in The Town.

While that’s all well and good and does make the movie memorable in its own right, I still can’t help shake the fact that as time has gone on I’ve become less and less impressed by this movie. A big reason is because of the characterization and how the people in the movie develop. My biggest example of this is the relationship between Joe and Graciela. It has the potential to be a great cinematic romance, but it unfortunately isn’t explored enough and the events of their life jut kind of happen and then time moves on because there is so much left to cover. The same can be said about Joe’s partner in the movie. We briefly see him in the first third, then he’s reintroduced, but their relationship doesn’t really have a chance to go anywhere either.

I’ve been so excited for Live by Night, it kinda hurts to say that it disappointed me. It’s a beautiful looking movie with a great score and sound design. There’s also plenty of great actors giving quality performances. The problem is that so much is crammed into the movie that some plots are wasted and characters fail to develop fully which lessens the dramatic impacts of some scenes. I really wanted Live by Night to be great, but it’s a movie that fails to live to its fullest potential and I’m not sure I have any reason to see it again.

Final Grade: C+

Moonlight – Review

4 Jan

One of the most talked about movies of this year is Barry Jenkins’ Moonlight. It has taken me way too long to see this movie, but I’ve finally made my way to the theater to go see it, and I was completely blown away. I had such high hopes for this movie because the praise from both audiences and critics has been unanimous. Having the high hopes that I did can sometimes be dangerous because it’s rare that a movie so perfectly matches your expectations. I’m happy to say that Moonlight, with its solid performances, story, and cinematography, stands with some of the best movies of this year.

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The story of Moonlight is broken up into three separate acts. In the first act, we meet a young Chiron (Alex Hibbert), a shy boy who is constantly being chased and bullied by his classmates. He can’t even find help at home since his mom’s (Naomie Harris) problems with drug addiction and prostitution often forces him out of the house and back on the street. His only solace is in a local drug dealer named Juan (Mahershala Ali) and his girlfriend, Teresa (Janelle Monáe), who let him stay over and give some of his first life lessons. In the second act, Chiron (Ashton Sanders) is in high school and is still being harassed. He knows something is different about him and finds a new kind of comfort in a classmate named Kevin (Jharrel Jerome). This comfort is soon destroyed and Chiron, himself, becomes pushed too far. In the final act, Chiron (Trevante Rhodes), now going by Black, is an adult drug dealer living in Georgia. He gets a call from Kevin (André Holland) one night in Florida and the two meet up in the restaurant that Kevin works in. This meet up once again rekindles something in Chiron which forces him to come closer to his insecurities and his true self than he may ever have before.

Right from the very first shot of Moonlight I was hooked. The film opens with a fantastic long take that circles a group of characters having a mundane conversation that’s made interesting by this stylistic choice. The whole movie is a visual and auditory masterpiece that uses these techniques to help tell the story instead of completely washing the story out with style. Barry Jenkins and cinematographer James Laxton find very unique places to put the camera or move the camera to get an image that is evocative and sometimes unexpected. This is easily one of the best looking movies of the entire year. The sound also helps better the story and sometimes isolate you into the mind of Chiron. There are moments when people are yelling and screaming but there’s this strange silence that fills the screen that is far more dramatic than anything that’s being said. There’s a few instances where the sound becomes more of a staccato which creates the tension necessary for a scene. This combination of sight and sound really gives this movie a special artistic touch, and I couldn’t imagine the story being told by someone else.

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Like I said, the style of this movie doesn’t overshadow the story, and that’s mainly because the story is so well told and so beautifully realized. Without giving anything away, the story of this movie takes a very real and relevant situation someone can be going through and puts this situation in a really harsh and unforgiving environment where only a few people around you really understand and care about you and what you’re going through. This can often times be a tough movie to sit through because it can be very unforgiving with what happens to some of the characters. By the end, however, I felt like the characters have all changed, matured, and learned. The only way this movie could be told is in the three part structure that it’s set up as. If the film only focused on one of these time periods, then Chiron’s character wouldn’t learn and change like he does in the finished product. This is a very real and down to earth film that doesn’t pull any punches but still leaves the audience feeling satisfied.

Like so many great movies, none of this would have the impact that it does if the performances weren’t as strong as everything else. This is also one of the best acted films of the year, right along with Manchester by the Sea. Mahershala Ali gives his best performance in Moonlight, and I really want to see more of this actor in feature films and not just television. The real stand outs for me, however, are all three actors that play Chiron. Trevante Rhodes and Ashton Sanders who play the adult and teenage Chiron, respectively, share very similar quirks and characterizations that really makes the audience feel like they’re watching the same person at different ages. Of course the different angsts and motivations of their ages come out as well. I especially want to talk about Alex Hibbert who plays the young Chiron. It’s rare that an actor of his age can make me believe so easily that I’m seeing a real person and not just a character onscreen, and he pulls it off with ease. It’s a great performance. The rest of the supporting cast featuring Naomie Harris, Janelle Monét, and André Holland are all perfectly casted and performed as well.

There’s been a lot of great and memorable movies to come out in 2016, and Moonlight is up there with the best of them. This is a very dramatic movie that never falls into the pit of melodrama while also exploring themes that may seem familiar, but never actually makes itself a cliché. It’s written and performed in such a way that feels very down to earth and organic. It’s also filmed in such a way that is very artistic and stylistic without ever going overboard. I highly recommend this movie for so many different reasons.

Final Grade: A+

We Own the Night – Review

27 Oct

One of my favorite types of movies are crime movies or gangster movies. Anything like that, really, is worth checking out. There’s just something fascinating about the lifestyle, and it gets even more fascinating when the story is set in a time and a place that really adds character to the situations the characters find themselves in. James Gray’s film We Own the Night takes place in the late 1980s, which was a time in New York City when crime was at an all time high. This caused the rise of the NYPD’s Street Crime Unit, whose tagline was the title of this film. All this history and material should make this film an instant classic, but it unfortunately fell under the radar for some reasons that became very obvious as I was watching.

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Bobby Green (Joaquin Phoenix) is a manager of a popular club that is unfortunately a host to a nefarious criminal named Nezhinski (Alex Veadov). Despite this, Bobby is living the life he loves at the club with his girlfriend, Amada (Eva Mendes). What the club owners and employees don’t know, is that Bobby’s father, Burt (Robert Duvall), is the chief of police and his brother, Joseph (Mark Wahlberg), is a highly respected officer of the Street Crimes Unit. These separate lives intersect when Burt and Joseph ask Bobby if he is willing to inform on Nezhinski’s activities to them, but after Bobby declines and there’s a raid on his club, Nezhinski starts taking matters into his own hands and attacking police. As Bobby tries to resume life by any means, the gangsters operating out of his club start getting closer and closer to learning who Bobby and his family is which forces the police to start working faster and making rasher decisions.

There’s so much that material to work with to make this an epic crime film of this time, yet it falls very short of that epic scope it should have had. The first glaring issue is the uneven tone and pacing of the story. During the first half of the movie, Bobby feels very disconnected from everyone and everything, including his family and his club. Part of the reason why is because we’re just thrown right into his life without getting any history of the characters or why they behave like they do. Some set up would have really gone a long way. Once we get around halfway through the movie, things really start focusing up and the story really feels like it gets kicked off. There’s just so much jammed into the first half without any back story given, while the second half is the payoff from all of that which is done in a much more concise and focused way. It feels like this could have been a 3 hour movie instead of a 2 hour one.

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We Own the Night has an excellent cast, which is another reason that drew me to this movie. Joaquin Phoenix is one of the most powerful actors working today and he gets some really excellent scenes to show just how talented he is. Eva Mendes also gives one of her better performances, and Robert Duvall gives a very subtle yet sincere performance as Bobby and Joseph’s father. Now we come to Mark Wahlberg. I’d love to say he did great in this film since he is a fine actor, but he doesn’t get to do a damn thing. For a huge portion of the movie, he isn’t even in it, but when he is, he’s either berating his brother or sitting around in his office. When he finally does get to go out into the field, he still doesn’t do anything. I haven’t seen a character wasted like this in a really long time, and no other such egregious instances comes to mind in recent memory.

What really saves this movie from falling into the deepest pits of mediocrity are some scenes that show what James Gray is really capable of. One scene towards the beginning of the movie shows one of the most realistic depictions of street violence I’ve seen in a movie. It’s shocking and gut wrenching in its realism. Speaking of gut wrenching, there’s a car chase later on that is so un-cinematic and all the more intense for it. There’s minimal music in this scene and most of the action takes place inside one car with the the other action and sound just what can be seen and heard through the windows and the torrential rain. There’s a handful of other great scenes as well that really bolster this movie up higher.

I wanted to like We Own the Night a lot more than I did. It has all the makings of being a great movie, but the plot and tone can be so uneven and a potentially important and interesting character is completely wasted. While some of the pieces don’t fit very well, there are still some really memorable scenes and very good performances by the actors whose characters actually get to do some stuff. I was looking for a movie that was going to hopefully sit with the greats in the crime subgenre, but what I got was a movie that was a little frustrating and failed at reaching its true potential.

Final Grade: B-

La Vie en Rose – Review

6 Oct

If someone were to make a list of iconic singers from around the world, I can guarantee that Édith Piaf would be close to the top. Piaf’s unique voice and graceful stage presence made her an international success until her untimely death at the age of just 47. Even today, her music can be found in movies, television, and commercials which shows that even though she’s no longer with us, her musical legacy is still strong. Something that reinforced this was the 2007 film by Olivier Dahan, La Vie en Rose. This film tells the life story of Édith Piaf, which includes incredible joy and overwhelming tragedy. It’s definitely a story that had to be told.

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The film begins with a sick looking Édith Piaf (Marion Cotillard) taking the stage for a concert, and quickly fainting during a song in front of a large audience. The film then cuts back to 1918 when Piaf was just a young child who is left by her parents to live with her grandmother in a brothel in Normandy. As the years go on, Piaf makes a meager living singing on the street, but is soon found by Louis Leplée (Gérard Depardieu) and invited to sing at his club where she quickly becomes something of a local celebrity. As time goes on, her fame increases and travels around the world, including New York City, where tragedy hits hard when she loses the love of her life, Marcel Cerdan (Jean-Pierre Martins), in a plane crash. Finally, back in France towards the end of her life, it’s clear that Piaf’s abuse of prescription drugs and alcohol have taken a huge toll on her health, and the devastating realization that soon she will no longer be able to sing anymore.

This is a hard movie to summarize because it tells so much of a person’s life. This is a pretty long movie, clocking in with a run time of almost two and a half hours, but even then I feel like there may have been more to be told. That works to the film’s credit since I was intrigued by the subject and the handling of Piaf by making the icon into exactly what she was: a human being. While I love the way Piaf is depicted in this movie, I wasn’t really a huge fan of how the story was told. The film starts towards the end and then jumps back to the beginning for a while, and naturally progresses from there. That’s all fine, but as the movie goes on it jumps back and forth and then introduces an even later timeline, and then starts jumping around even more rapidly. Towards the end of the movie, I jumped around so much that I was sometimes confused with where and when I was in the story. I understand that this was a way for the film makers to get in as much of the story as they could, and I’m ok with a cut up timeline, but this was just way overdone.

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It’s impossible to talk about La Vie en Rose and not talk about Marion Cotillard. This is, in my opinion, one of the greatest screen performances of all time. When you’re watching the movie and getting more engaged in the story, you forget that you’re watching Cotillard playing Édith Piaf and are actually watching Piaf herself. I know that’s how I felt. It’s a complete transformation from one person into another, and it’s truly incredible. Not only does she nail Piaf’s voice (although the singing was dubbed), but also the way she stood, small mannerisms that she had, and even small changes to her face that made all the difference. With a movie like this where the character was a real person whose life was filled with such success and tragedy, it’s important to believe what’s happening. Cotillard’s performances made this a very easy film to believe and get lost in. She is a marvel to watch, and earned the Academy Award for her performance, which is one of the few times someone has won this award for an entire foreign language role.

La Vie en Rose also is just a beautiful looking movie, even in the beginning when a young Piaf is living a life on the streets in Belleville to the more upscale life that she led in New York. The set design is all fantastic and the costumes work great with the different decades that Piaf lived through. There’s just so much wonderful stuff to look at, and I have to give a lot of credit to Olivier Dahan and his direction for adding something more to the design. At first, I thought the directing was nothing special, but that’s not the case. It’s understated and controlled and never takes the style too far. One of my favorite scenes in the movie happens during a devastating moment in Piaf’s life, and instead of cutting, the scene follows Piaf through her entire apartment and catches the entire range of emotion in her performance and the atmosphere surrounding the incident.

La Vie en Rose is not without it’s faults, but it’s a movie that truly captures the tumultuous life of an icon of music. This is a frustrating movie to sit through, at times, because how the story keeps jumping from the past to the present to the future to the past then who knows where. If that was just toned down a bit, the movie would have been improved. Still, Cotillard’s performance, the production design, and Dahan’s skilled directing make this an above average biopic.

Final Grade: B+