La Vie en Rose (La Mome)


La Vie en Rose (La Mome)

Critics Consensus

The set design and cinematography are impressive, but the real achievement of La Vie en Rose is Marion Cotillard's mesmerizing, wholly convincing performance as Edith Piaf.



Total Count: 149


Audience Score

User Ratings: 130,707
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La Vie en Rose (La Mome) Photos

Movie Info

Writer/director Olivier Dahan (Crimson Rivers II) helmed La Vie en Rose, the screen biopic of tragic French songstress Edith Piaf. Marion Cotillard portrays Piaf, the superstar once raised as a young girl by her grandmother in a Normandy bordello, then discovered on a French street corner -- as a complete unknown -- by cabaret proprietor Louis Leplée (Gérard Depardieu). The film segues breezily between various episodes from Piaf's life -- such as her lover, French boxer Marcel Cerdan's (Jean-Pierre Martins) championship bout in mid-'40s New York; her period in Hollywood during the '50s; Piaf's abandonment as a young girl by her contortionist father (and earlier by her mother, a street singer); her brushes with the law as an adult; and her 1951 car accident and subsequent morphine addiction that caused her to age well beyond her years and left her barely mobile; and, through it all, her ability (like Billie Holiday) to funnel personal tragedy and emotional struggles into her vocalizations -- dazzling audiences in the process. ~ Nathan Southern, Rovi

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Marion Cotillard
as Edith Piaf
Jean-Paul Rouve
as Louis Gassion
Gérard Depardieu
as Louis Leplée
Pascal Greggory
as Louis Barrier
Marc Barbé
as Raymond Asso
Jean-Pierre Martins
as Marcel Cerdan
Clotilde Courau
as Anetta Gassion
Cassandre Berger
as Child Piaf (Singing Voice)
Caroline Sihol
as Marlene Dietrich
Alban Casterman
as Charlez Aznavour
Pauline Burlet
as Edith Piaf (Aged 10)
Elisabeth Commelin
as Danielle Bonel
Marie-Armelle Deguy
as Marguerite Monnot
Jean-Paul Muel
as Bruno Coquatrix
Andre Penvern
as Jacques Canetti
Mario Hacquard
as Charles Dumont
Aubert Fenoy
as Michel Emer
Felix Belleau
as Robert Juel
Ashley Wanninger
as Leplée's Assistant
Cylia Malki
as Philipo
Laurent Olmedo
as Jacques Pills
Édith Le Merdy
as Simone Margantin
Emy Levy
as Brothel Girl
Lucie Stainkrycher
as Brothel Girl
Vera Havelková
as Brothel Girl
Jan Kuzelka
as Brothel Client
Dominique Paturel
as Lucien Roupp
William Armstrong
as Clifford Fisher
Martin Sochor
as O'Dett Spectator
Frederique Smetana
as O'Dett Spectator
Lenka Kourilova
as O'Dett Spectator
Pierre Derenne
as Little Louis
Jan Filipensky
as Fire Eater
Laura Menini
as Circus Dancer
Mathias Honore
as Mr. Loyal
Diana Stewart
as American
Robert Paturel
as Man On Corner
Olivier Cruveiller
as Inspector Guillaume
Sébastien Tavel
as Interviewer
Agathe Bodin
as Suzanne
Nicole Dubois
as Dressmaker
Janis Martin
as Jean Mermoz
Marc Chapiteau
as Mitty Goldin
Philippe Bricard
as Man At Lannes
Helena Gabrielova
as Drunken Woman
Jaroslav Vizner
as Party Man
Sophie Knitti
as Bar Client
Helene Genet
as Bar Client
Liliane Cebrian
as Mind-Reader
Nicolas Simon
as Church Journalist
Thierry Guibault
as Ostende Doctor
Garrick Hagon
as American Doctor
Ginou Richer
as Neighbour
Vladimír Javorský
as Spectator In Street
Denis Ménochet
as Orly Journalist
David Jahn
as Soldier
Sylvie Guichenuy
as Woman In Street
Fabien Duval
as Policeman
Pauline Nemcova
as USA Journalist
Maya Barsony
as Girl In Bar
Fedele Papalia
as Fast Food Waiter
Zdena Herforova
as Woman At Café Etiole
Olivier Carbone
as Transvestite
Laurence Gormezano
as Pub Waitress
Christophe Odent
as Dr. Bernay
Robert Nebrenský
as Doctor At Dreux
Jaromir Janácek
as Dreux Festival Director
Christopher Gunning
as Orchestra Leader
Richard Hein
as Orchestra Leader
Jil Aigrot
as Edith Piaf's Singing Voice
Manon Chevallier
as Edith Piaf (Aged 5)
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Critic Reviews for La Vie en Rose (La Mome)

All Critics (149) | Top Critics (46) | Fresh (110) | Rotten (39)

Audience Reviews for La Vie en Rose (La Mome)

  • Dec 23, 2013
    Marion oh Marion. She is truly a wonderful artist. Marion handle the movie like no other female actresses did. For the movie itself, La Mome (the original title) is quite depressing to see the great Edith Piaf's life but on the other hand entertaining. And, where is the famous La Vie En Rose song in the film, did I missed it or something? 7/10.
    Mesh B Super Reviewer
  • Nov 15, 2013
    Cotillard used this film to propel her into more mainstream Hollywood films but I wasn't terribly blown away. A tad bit disappointing.
    John B Super Reviewer
  • Apr 12, 2013
    "Des yeux qui font baisser, les miens Un rire qui se perd sur sa bouche voila, le portrait sans retouche de l'homme auquel, j'appartiens!" Nope, I'm pretty sure that the translation of that song's lyrics in no way makes me sound gay, but just in case, Marion Cotillard sho' is purtty... though not necessarily in this film. I mean, she doesn't look too bad, or at least not when she's a younger, cuter Édith Piaf but they made her look even skinnier, put some serious fatigue around her eyes and really rolled back her hairline, and yet, they managed to cover up that someone little, somewhat strangely placed mole on the forehead that is so much more pronounced in this film, so I guess the makeup artists could have done a more intense job of dressing the lovely Mademoiselle Cotillard for the sake of authenticity. So yeah, if you're looking for a film that tells you about how good of an actress Cotillard is, then you need not look anything further than this film, but don't exactly go in expecting her to look about as good as certain other traditional pop women of the extra classic era. Hey, Édith Piaf was not all that pretty of a woman, but she sure was talented, and sure makes for a decent film, which isn't to say that this film is as enjoyable as it could have been, because it falls a bit short, which is shocking because, seriously, who better to direct this deeply dramatic character study than Olivier Dahan, the artist behind such moving classics-to-be as the Luc Besson-written "Crimson Rivers II: Angels of the Apocalypse"? Hey, the French can have silly films that are more than just borderline unwatchable Cannes Film Festival entry silly, too, but they can still turn in some good dramas, with this film, well, not really being one of them. Sure, the film is decent and all, and Marion Cotillard is at least awesome, but it's not the harded hitting biopic, partially because it can't entirely escape Hollywood drama, even though it was made a long ways off from Hollyweird. This drama is, at times, effective, and the ambition behind dramatic depth is palpable enough to sustain a reasonable degree of your investment, yet it is just that ambition that all too often taints this film with dramatic shortcomings, particularly histrionics, which rarey, if ever bear down too heavily, but thin out genuineness in emotional resonance to the point of even leaving the faithfulness to the more theatrical, yet nonetheless factual beats in Édith Piaf's inspiring story to come off as overblown. Manipulative dramatic notes in this film aren't too manipulative, but they stand as recurring blows to your investment, which takes enough damage from, of all things, a questionable story structure. Ostensibly aiming to obscure conventionalism as a biopic (Yeah, such an aim doesn't quite hit, but more on that later), this film structures the unraveling of a layered life study in a non-linear format that gives you a glimpse into one segment in Piaf's life, then focuses on a separate glimpse of a separate segment, and can work, but doesn't quite gel in this film, which gets too carried away with its format, growing rather convoluted at times, maybe even all-out uneven, when not failing to spend as much time as it should meditating on any one tossed-in segment. Time needs to be taken to flesh out a character study this layered, and while the film soaks up its depths just enough to keep you from falling out, it grows more and more frantic in its thinning out exposition as it goes along, until, after a while, the final product devolves into repeititious aimlessness, and that alone drives it into underwhelmingness, yet the issues don't quite end there. No matter how much the film tries to unique its structure up, much too often to a fault, it cannot obscure its being too formulaic as a biopic, having about as much potential for compellingness as any other given rise-and-fall tale of this type, but ultimately finding its effectiveness undercut by predictability that would be easier to miss if it wasn't for plenty other issues in storytelling. I like the film just fine, and it has plenty of things behind it that are not simply commendable, but near-laudable, yet for every considerable strength, there is a considerable shortcoming, and while you can't take enjoyability completely away from this film, the final product is ultimately dragged away from potential and into relative underwhelmingness. Still, no matter how often the film misses a note, when it hits a high mark, it generally hits fairly hard, not quite to the point of giving you what you might want out of a film of this type, but still replenishing your investment in Édith Piaf's story, or at least her taste in music, as well as Christopher Gunning's taste in music. When Édith Piaf's musical career is brought more into play, say, after the segments that focus on Piaf's harsh childhood, the film begins to focus more on mainstream tunes than Christopher Gunning's efforts, but whenever Gunning's score is, in fact, brought in, it delivers on a classically tasteful soul that helps in defining plenty of areas of depth. As for the mainstream soundtrack that grows more and more pronounced as the film progresses, it's also quite worthy of compliment, as Piaf delivered many a fine tune, and boy, do you get plenty of them in this film, whose plays with Piaf's dynamic and rich work help in further selling you on this film's tone, while also selling you on this film's timeline, though not quite as effectively as the production designs, as Olivier Raoux delivers on eye-catchingly intricate, yet convincingly controlled revivals of the settings to Piaf's world, from the gritty slums of France in the 1920s, to the dazzle of the star life in the mid-1900s. Money is very well-spent when it comes to this film's production value, which is rich and convincing, as well as rather attractive, though that might just be because of the artistic value that is put into Tetsuo Nagata's cinematography, which is nothing short of stunning in its crisply emphasizing color - both bleakly gritty and rather strikingly heavy - in a fashion that is handsome half of the time, and down-right stunning the rest of the time. The film certainly looks good, and further catches your attention with worthwhile production value and colorful musical touches, and while I wish I could say that this film's substance is as rich as it style, there's no denying that this film has plenty of colorful artistic touches to liven up substance. Speaking of which, while the conceptually valuable substance behind this film is all too often mishandled in the long run, it still stands, establishing an immediate degree of engagement value that may not be too strong, but keeps you going until Olivier Dahan genuinely delivers as storyteller, whether when he's keeping entertainment value adequate, or working around histrionic spots to deliver on genuinely effective emotional resonance, especially when it comes to a pretty powerful ending. I wish the rest of this film was as strong as its final note, but compellingness is never too thin in this film, but enjoyable character study, which wouldn't be as engaging as it is if it wasn't for the leading efforts, not by Dahan, but by our onscreen leading lady, for although there are plenty of good performances in the supporting cast, there is no coming close to outshining or overrating the revelatory Marion Cotillard, who I've always known to be good, but not this outstandingly good, because if there's nothing else that is phenomenal in this film, its Cotillard's effortlessly committed portrayal of Édith Piaf, which doesn't need Didier Lavergne's and Jan Archibald's excellent makeup effects to be hauntingly transformative, as Cotillard not only impeccably adopts the mannerisms and other characteristics of the late, great talent, but captures the human depths that defined Piaf with considerably intricate layers, complimented by an intense emotional range that stops you cold, if not break your heart at times. In her adult years, Piaf starts out as a promising and somewhat humble young soul, then grows into a charismatic, yet rather spoiled superstar who eventually descends into a brief middle age that is racked with bitterness, then fear, and finally regret, and Cotillard's immersively committed portrayal of this heavily layered character progression is bound to take your breath away and has to be seen - nay - experienced in order to be believed, as it carries this film, which is too flawed to reward by its own right, but is well-produced and well-acted enough, as well as endearing enough, to ultimately prove reasonably worthy of your time. In the end, histrionic spots slow down the momentum of this character study, which is further hurt by exposition issues that, alongside repetition and convolution, serve as components to an uneven narrative structure that cannot fully obscure the considerable conventionalism that it joins with in driving this should-be strong film into underwhelmingness, though not so deeply that the color of the score and soundtrack, sharpness of the production value, beauty of Tetsuo Nagata's cinematography, value of the story concept that is brought to life by inspired moments in Olivier Dahan's direction, and, of course, power of Marion Cotillard's transformatively layered, deeply emotionally involved and all around outstanding performance to make "La Vie en rose" a decent study on the layered life and times of Édith Piaf, flawed though it may very much be. 2.5/5 - Fair
    Cameron J Super Reviewer
  • May 28, 2012
    A spellbinding performance by Marion Cotillard, and some pretty artsy cinematography. The film depicts Edith Piaf as more of a jaded, controversial individual, rather than glorifying her life (which is unique in a biopic).
    Dillon L Super Reviewer

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