REVIEW: “La Vie en rose”

March 23, 2012 by Keith Garlington

Edith Piaf was a brilliant young singer who had a life filled with joy and tragedy. She was born in the Belleville district in Paris, France and survived a difficult childhood to become one of France’s most beloved singers and a national icon. But her life was a constant struggle even in light of her huge success. “La Vie en rose” is a French biopic about the life of Edith Piaf from director and co-writer Olivier Dahan. Marion Cotillard stars as Piaf and delivers a brilliant performance that earned her the Academy Award for Best Actress. This was also significant in that it was the first time an Oscar was given for a French language performance.

The story of “La Vie en rose” is told in a very unconventional way. There’s no straightforward chronological narrative. The movie jumps back and forth between different periods of Piaf’s life. Sometimes this storytelling method works while other times it seems to shift between time with no cause or reason. There’s one particular tragic event that happens early in Piaf’s life but we never know anything about it until close to the end of the film. There’s no real structural reason that would cause it to be incorporated into the story at that time but nonetheless it is. I’m assuming the non-linear approach was an attempt to make it feel more unique and different from other biopics. This isn’t a bad approach but I still would have preferred a more straightaway mode of storytelling.

While the movie does frantically hop around, it does keep most of her childhood together at the start of the film. It’s very effective in conveying the reasons for her lifetime of trouble. The film shows how she was abandoned by her parents. We see how she is raised for several years in a Normandy brothel. We also see her spending time confined to a struggling traveling circus with her father. As a teenager she’s forced to sing on the streets to survive until she is discovered by the owner of a small nightclub. All of these things lay the groundwork for what was a complicated and often times hard life and her personal hardships often times overshadowed her incredible talent.

One of the main reasons to see “La Vie en rose” is for Marion Cotillard’s wonderful and mesmerizing performance. Cotillard spent a lot of time listening to, watching, and studying interviews by Edith Piaf and it really pays off. She completely loses herself in the role and at times she’s almost unrecognizable. The story required Cotillard to play Piaf at different ages and in different stages of health. I was amazed watching her capture the energy and exuberance of a young 18-year old girl as well as the frailty and emptiness of a 47-year old on her death bed who looks twenty years older than she really is. Cotillard’s Oscar win is completely justified and she takes this role of a lifetime and makes it unforgettable.

The life of Edith Piaf was filled personal highs and devastating lows. “La Vie en rose” shows it to us through it’s truly enthralling and heart-breaking presentation. It captures the special spirit of this larger-than-life personality which makes watching her troubled life unfold all the more painful. It does require an unnecessarily high level of concentration due to the fractured narrative which really adds nothing to the film. And while it still uses some of the same conventions that we’ve seen in other biopics, its still a powerful story. This isn’t a flawless film but I found myself totally involved right from the very start.

VERDICT – 4 STARS

REVIEW: “The Last of the Mohicans”

March 16, 2012 by Keith Garlington

James Fenimore Cooper’s novel “The Last of the Mohicans” was first adapted for the big screen in 1912. Other versions of the story appeared at theaters in 1936 and 1963. But then in 1992 Michael Mann delivered not only the best version of the classic story but also one of the most well-crafted and cinematic period piece films you’ll find. Mann gives us a gritty frontier action picture placed in a beautiful yet worn-torn setting. But an equally strong component of the film is the passionate love story interwoven throughout the picture. It’s a romance that never feels tacked on or disingenuous. In fact, it fuels much of what drives the narrative all the way to its powerful final 10 minutes.

The film stars Daniel Day-Lewis as Nathaniel Hawkeye, adopted white son of Chingachgook (Russell Means). Joined by Uncas (Eric Schweig), Chingachgook’s only blood son, the three find themselves involved in The French and Indian War that they are desperately trying to avoid. After tracking a Huron war party the three rescue Cora (Madeleine Stowe) and Alice (Joghi May) Munro, daughters of a British Colonel stationed at Fort William Henry. Realizing more Hurons will be coming, they agree to lead the daughters and Major Duncan Heyward (Steven Waddington) to the fort. From there relationships develop, jealousy and deception is revealed, and the horrors of a new kind of war take center stage.

The casting is proven good by some truly wonderful performances throughout the movie. Lewis is fantastic as Nathaniel and his onscreen chemistry with Stowe is quite good. Their romance feels genuine even though it feels a little hurried. Lewis is also good in the action sequences as is Schweig and Means. The action is beautifully shot and choreographed and the three actors have absolutely no trouble selling it. Also fun to watch is the great Wes Studi as Magua, a twisted Huron warrior who wants to kill as many “grey hairs” as possible. Everyone is good in the film and even the smaller performances ting with authenticity.

This film version isn’t ardently faithful to Cooper’s novel but in many ways it’s an improvement on it. Mann and co-writer Christopher Crowe put together an energetic and fast-paced adaptation. It ruggedly portrays the demanding and taxing frontier life and sharply contrasts that with the aristocratic, prim and proper attitudes of the English and French. It’s that monarchist arrogance and sense of entitlement that meets the sharp and violent reality of the frontier. It also doesn’t shy away from giving the action a gritty and sometimes bloody presentation. But with the exception of one particular scene, the violence never feels gratuitous. Instead it feels like an accurate representation of what that crude and sometimes brutal combat would be like.

I also have to mention how wonderful the movie looks. I mentioned how beautifully shot the action sequences are but the same could be said for the entire picture. Filmed in North Carolina’s Blue Ridge Mountains, the movie features so many scenes of natural beauty that it’s impossible not to be drawn in. The gorgeous locations mixed with Dante Spinotti’s stunning cinematography gives the setting an uncharted and untouched look. And it’s impossible not to be impressed by his clever camera angles and perfectly executed long shots that give so many scenes an undeniable cinematic flare.

And speaking of presentation, I have to mention the incredible score by Trevor Jones and Randy Edelman. Of all of the movie scores I have heard, and there are plenty of great ones out there, none has added as much to a film or effected me more that Jones’ and Edelman’s work here. From the percussion-driven music during the battle at Fort William Henry to the emotional period string arrangement playing during the finale, every note hits perfectly. But most importantly, the score adds to the mood and tone of almost every scene.

Michael Mann’s “The Last of the Mohicans” is an example of wonderful filmmaking from title to credits. Some may not respond as strongly to its straightforward storytelling or its occasionally intense violence. But I love it’s fast and fluid pacing, realistic frontier depiction, and heartfelt romance. The performances are great throughout led by more strong work Daniel Day-Lewis. It’s also a technical achievement featuring stunning visuals, remarkable sound, and a soundtrack that still moves me to this day. This is a unique historical period film that has a feel all its own. It won me over when I first saw it in the theater in 1992 and it’s one of the few movies that I can watch again today anytime or anywhere.

VERDICT – 5 STARS

5 STARSs

5STAR K&M

“LAST NIGHT” – 2 1/2 STARS

March 1, 2012 by Keith Garlington

“Last Night” is more of a relationship drama than a romance movie. First time director Massy Tadjedin also wrote this story of a seemingly happily married couple whose relationship will be tested during a 24 hour period apart. It’s a story that does supply some good moments and asks some good questions. But it also lacks the life and energy needed to sell these characters and it’s never quite as provocative as it tries to be.

Keira Knightley and Sam Worthington play Joanna and Michael Reed. The couple are working on their third year of marriage and seem to have found their place in New York City. But Joanna becomes jealous when she sees Michael spending a suspiciously large amount of time with a beautiful colleague of his (Eva Mendes) at a company party. At home, later that night, we see the couple argue over this but make up in time for Michael to head off on a brief business trip in Philadelphia. While he’s gone Joanna runs into old flame Alex (Guillaume Canet) who she agrees to meet for a drink later. Meanwhile Michael finds himself tempted in Philly by the same colleague that stirred his wife’s jealousy.

The movie evolves into a will-they-or-won’t-they-cheat narrative driven by the lead characters’ insistence on putting themselves into the worst possible situations. Granted, we the audience are meant to suspect that this allegedly happy marriage is really built on a weak foundation which is exposed by their behavior. But I kept shaking my head wondering why anyone would continue to put themselves in such positions to fall unless they just weren’t very nice people. And that’s an issue I had with “Last Night”, none of the main characters are all that likeable and in a story like this it’s nice to have someone to root for.

The film does keep a certain level of intrigue as both Joanna and Michael repel the temptations they face only to put themselves back in the line of fire. I was genuinely interested in whether or not the couple could weather the storm and resist what could potentially destroy their marriage. But my interest wasn’t sparked by any direct connection to the characters. In fact, it’s really hard to connect to these characters. Knightley certainly gives the best performance in the film but even she is let down in spots by the material most notably with this past relationship with Alex. It just doesn’t sell. I actually like Sam Worthington but he seems out of his element here. He sometimes comes across as wooden and emotionless which can hinder a story like this..

“Last Night” has good intentions. Massy Tadjedin does ask good questions about jealousy, devotion, and marriage. It’s seems to make the good point that strong marriages aren’t built on weak foundations and even what looks like a good relationship can crumble if it’s not intended to be. But unfortunately the movie doesn’t give us the characters we need to really emotionally invest in this type of story. We get hints of genuineness and there are some scenes that feel true. But it also sometimes feels lifeless and mundane. “Last Night” is a nice first effort from Tadjedin who gets some things right. But a character-driven film requires characters and we just don’t get consistent ones here.