first time at the concert hall in paris

That year, Edith Piaf took to the stage at the Paris Concert Hall. Ten minutes ago, she locked herself in the unlit dressing room and refused to come out. She was shivering with nervousness, and stammered to the music tutor Raymond Asso outside the door, like a six-year-old child on the first day of first grade. . Raymond's calm, gentle voice allowed her to control her emotions. Under the lights of the concert hall, she looked shyly at the audience, the orchestra began to play, and the director cut off the soundtrack in the film. In a set of silent but gorgeous, noisy shots, this woman's illusory life has been taken away by Santa Teresa. I can't look back, and I can't control my footsteps in my misery.

In fact, with the exception of this one episode, the entire film is organized in a nearly uninterrupted stream of Edith Piaf's selection of songs. Each song leads a segment of Edith Piaf's life. It's only in this segment that we can't hear what Edi is singing, or the titled soundtrack. However, this was Edi's actual peak, the happiest time of her life. As the music hits the stage, her slightly taut vocal cords blow into a swinging start, and then the audience is overwhelmed as she slowly begins to loosen her arms, waving arcs under the single-beam spotlight. A simple, wonderful moment. Whether it is a childhood that was abandoned miserably, a teenage girl in a street tavern, a middle-aged in love, or an old age when her will is completely lost, it is nothing but a typical Billy Holliday-style woman who was exiled in the lanterns of the entertainment industry. One year, every moment, there are such women on this planet. They are either famous, or sinking, or young, or old. They quickly burn out their youth and make some stupid but forced choices. The only difference to Edith Piaf is that she can go into silent vocals at the moment in the concert hall and ring on all the field radios. The movie's choice of silence at this moment may be the most successful treatment. As for the other two hours of overuse of mature techniques to tell about a woman's tragic life, it may be a bit too much to say that it is dull, but it is indeed a bit of a departure from cruelty. "Chanson" here becomes unrecognizable and blood-stained.

In fact, after a lapse of half a century, the original street-level atmosphere has been lost, leaving only a mellow and rounded road. And it all started with Edith Piaf. She may have cut all the pain and dark humor in the music into her life. La vie en rose? Edith Piaf in this movie has never had much.

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