Cotillard is alone on the stage, more than two hours of distraction is needed, gaze into her eyes and groove as she grooves.
Dahan whispers the high pitched note with an authentic old style method. His calmness in the film is to be enjoyed. The director and co-writer, Olivier Dahan oozes warmth in Edith Piaf’s life by embracing her innocence. His key ingredient is Edith Piaf (Marion Cotillard) being unaware of the social rigmarole which is usually much more sensitive and turned to 11, when you are a recognizable face in this show business. Tackling that very issue with different perspectives and going in step by step, taking his time, just like the enacted boxing match, he is hitting the right punches in every round. And so what if he asks for your patience, if the fruit is this.. fruit-y, be patient.
Another major hurdle he successfully jumps over, is the poignancy of the world painted in here. Despite of some jarring moves taken in her life, the film perpetually remains uplifting and full of hope; it is perfectly edited. Tiny aspects like make-up, costume design and stunningly shot musical sequences, helps Cotillard boost her performance as this infamous and beloved singer. Never for a frame, she flinches and you fall deep in her innocent big eyes forgetting an actor is acting, pretending to sing, and more importantly falling.
On terms of structure, the film pretty much is created with the understanding of being a textbook biography, visiting various range of characters in the form of guest appearances there is very little for us to stick by this train of social visits. This is the part where Dahan loses his audience for a brief period, switching from one scene to another, a push was much needed and unfortunately Cotillard is tied by her hands in those situation so not even her Jazz-ing La Vie En Rose will save this night.