Someone once said that her voice made people feel in Paris; others said that her singing made people feel love; she gave the most perfect interpretation of chanson, but her life was ups and downs, as if she had been riding on the peak of a roller coaster until gone. She is loved by all French people, and she has many names, the most familiar one is Edith Piaf.
The movie poster is a kind of satisfaction - the back of a woman with outstretched hands, under the thin body, the depth of the scene outlines the stage The crowd was full of people, and the back light's expression was not concealed, but it gave birth to a kind of power.
I have read several biographies of women that I admire and admire, Duncan's freedom, Frida's freedom and her Mexican beauty, Woolf's split and her immortal literature; Duras' love and her fragmented life, recently I just started reading Riffen Dead Tarr, and I happened to come across such a movie. Of course, I was happy. Calm down and turn off the lights, just like the beginning of every Piaf performance - the curtain slowly opened, and she trembled from the inside. Step out, stand in the middle of the stage, and follow the light to cover her face.
How to use 120 minutes to tell a full and full of twists and turns of life, I am afraid this is the first question all biopic writers sit down and think about. When the director Olivier Dahan was dealing with these complicated details of life, he fully mobilized the editing of the film and the structure of the paragraphs, so that the forty-seven years, which were complicated and short, were presented in front of our eyes.
Edith Piaf was born in a poor family in France in 1915. His father was a circus actor who traveled around the country, and his mother lived on the streets every day by selling and singing. When he was a child, he was sent by his father to his grandmother's brothel, and then wandered around with his father until he was discovered by the nightclub owner Louis when he was singing on the street, which made him a blockbuster. And just around the time of the release of her first album, Louis was murdered, and she was involved in the case, charged with murder, until 1940, when Jean Cocteau made her shine.
This is her life until the age of 25.
In the film's narrative, this section is split, interspersed between the flashing old life and years, and is occasionally told. Starting from her performance in New York in 1959, the film takes her physical weakness as a clue, and at the same time makes the audience feel that she has never extinguished her passion for singing, and her persistent pursuit of emotions. The editing forms invisible strength and texture. From the experience of the first twenty-five years above, it is obvious that when dealing with this kind of editing, the sense of formality was too much emphasised and part of the plot of the story was lost, until she appeared the favorite of her life for nearly an hour, and in 1949 The character of Marcel, the boxing champion who was killed in the plane crash, really gave meaning to the plot. The messy clues in the previous paragraph were integrated, and the twists and turns of Piaf's fate were affected to move forward to a higher peak.
About their love, the film focuses on four passages: dating, singing in the karaoke hall, the match in the boxing ring and Marcel's plane crash.
Dating is the beginning of everything, two scenes, from the tavern to the luxurious restaurant, the second half clips the description of Piaf's friends, the subtle details of the emotion between the two characters; the karaoke hall, Piaf sings the English version of "La vie en Rose" ( Life of the Rose) expresses the beauty and confidence of passionate love, and at the same time, the scattered narratives are interspersed with their various kinds, advancing the emotional clues to the climax segment - the Marcel match in the boxing ring. Outside the frame is Piaf's soulful song "Mon Dieu" (God), which goes all the way to Marcel's boxing match - "God, my god, keep him by my side, Just a little more time." Yingying affection pushed the two people's emotional drama to a climax, and what greeted them was tragedy. The scene of Marcel's plane crash was handled particularly brilliantly. The long shots and several rounds were fully realistic. Before she had imagined that he had come to her side, she brought him breakfast, which contrasted with the tragic news that followed, giving people a huge impact. The shock, the performance of the actress makes this passage rush tears and shocks of the heart. This passage ends when the actress faces the camera from the long room to the camera, grieves across the long and narrow aisle, trembling until it extends to the stage. Front end, the intention is elegant and sad.
A car accident in 1951 caused her to contract morphine, which led to drug dependence, which, of course, was one of the reasons her life ended prematurely. Two marriages, one with fellow singer Jacques Pills, who divorced in 1956, and the second, with her husband, only twenty-six, who stayed with her until the end of her life. In 1960, when her body could no longer withstand the huge performance test, she fought for and almost gave up her Olympia show, and the manager recommended her a song, Dark Room, which she only listened to a few times. As soon as she said the sentence, her eyes lit up with amazing brilliance. She said excitedly, I have been waiting for this song all my life, and it is about me and my life. It was this song that made her stand on the stage for the last time, with full applause in the face.
The film's handling of the last performance is excellent. The director will reminisce on her deathbed, her momentary quietness before going on stage, and a cross-editing of an interview at the seaside. At her deathbed, she misses the beauty and regret of this life, and The last glory, combined with the simple and quiet self-narrated view of this life, merged with the end of life of a regretless and passionate female singer.
When she took the stage for the last time, she put on her own cross and slowly stepped out tremblingly, chasing the light and laying out her face, still the same Piaf, with thunderous applause from the audience, but the end of the interview outside the picture:
" What if you had some advice for women?"
"Love."
"What about the young girl?"
"Love!"
"And the child?"
"Love!"
With a faint smile on his tired and calm face, he waited for the silence below to gradually calm down, nodded to the conductor of the band, and began to sing for the last time. Non ,
je ne regrette rien
No, I do n't regret anything, I do
n't regret the good
in life, and I'm not disappointed by the
bad things And regret I clear, banish, forget all the past I laugh at the past with my memory I light all my sorrows, all my joys I don't need them anymore With trembling notes I forget my love I often clear it I 'm going to start from scratch no, I definitely wo n't no, I won't regret anything because of my life, all my happiness is starting from scratch with you today
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