Marion Cotillard: Why Academy Voters Have Already Narrowed Their Best Actress Nominations to Four

CINEMA PROFILE- MARION COTILLARD: ACCEPTANCE OF A FRENCH SPOKESWOMAN AND SUPERSTAR IN HOLLYWOOD

It is time for cinephiles to wake up and realize that there will not be a second New Wave. It has been over a decade since the death of legendary screen director Francois Truffaut, and subsequently we witness Louis Malle and Jean-Luc Godard making less films then they did in the 60s.

Contemporary French cinema seems to struggle in defining themselves. It is without a doubt that American cinema dominates cineplexes worldwide; while French cineastes appear to dispute whether to emulate the American formula or to remain devoted to their cinema d'auteur roots such as Truffaut and Godard. American audiences are no strangers to French films; however, over the past decade, audiences have only flocked to see only a few. The last time a super hit French import splashed its way into the arthouse circuit was 2001's "Le destin fabuleux d'Amelie Poulain" or the American title put simply, "Amelie." Although more modestly budgeted French films have followed, most notably "Sur mes levres" (Jacques Audiard) and "De battre mon coeur s'est arrete" (also by French extraordinaire Audiard) gathered critical praise here in the States, audiences have yet to praise these films as much as those of la Nouvelle Vague. What the film industry and the New French Cinema has created for the audiences is a new breeding ground for the makings of the new "international star."

Perhaps in an attempt to follow American film trends which have led to subsequent box office successes, French cinephiles eagerly anticipated the February opening of La vie en rose. The film appears to follow in the same vane as preceding American biopic films (look more recently "Ray" & "Walk the Line"); a tasteful soundtrack and an impeccable and unforgettable performance by Marion Cotillard. This enough would solidify her as a unimaginable international star. Her path to fame, on the other hand, will differ from another French actress, Amelie's dud Audrey Tautou who made her Hollywood stamp in the overnight arthouse knockout; then followed up in the most controversial film since The Passion of Christ when she co-starred alongside Hollywood go-to A-lister, Tom Hanks. Cotillard's unconventional career path has allowed her to make small strides, taking supporting roles in American productions as well as slowly introducing herself to American audiences in more mainstream French cinema, most notably "Big Fish" (playing Billy Crudup's pregnant wife) "A Good Year" (Russell Crowe's spicy French love interest) and as the sexy, but deadly Italian taking vengeance over those responsible for the death of her lover in Jean-Pierre Jeunet's follow-up to "Amelie", "A Very Long Engagement." (Un long dimanche fiancailles)

Her carefully orchestrated resume has built a solid base with American audiences, but nowhere around the same pace as Audrey Tautou. The recent US release of "La vie en rose" (or the French title, "La Mome") has already garnered her much attention. The Academy's appreciation towards actor's who interpret the lives of real people (Capote, Cash, Charles) as well as evening news coverage would certainly put Cotillard in front of other actresses in the race!

Although most critics have all marveled at her stunning grace and interpretation of Edith Piaf, some have drawn strong opposition with regards to the film as a whole (See A.O. Scott's review in The New York Times). This should not dissuade voters as the Academy's guilt has settled for passing on preceding phenomenal portrayals by international actresses. In the age of non-existent French cinema in American theaters, there have been glimpses of the "French superstar" in the past. What may give Cotillard the largest leverage is that of Catherine Deneueve and Isabelle Adjani. Two films, "Camille Claudel" and "Indochine" showcased enormous talent from screen actresses, Deneuve and Adjani; however, similarly to Cotillard's "La vie en rose", the two films suffered in overall execution (See US reviews of "Indochine" as well as Brigitte Rollet's article on Alterity and Colonialist Mentalities in "Indochine"). On the other hand, the Academy was sympathetic in awarding the two actresses Oscar nominations ("Indochine" proved more a winner when it nabbed Best Foreign Language Film in 1993). Domestic box office can give Cotillard a strong advantage also. Adjani and Deneuve's films were not able to mustard as much as the Piaf biopic which already in a month of release has already surpassed $7 million domestically.

Another possible reason for French cinephiles to cheer about a possible nomination is Cotillard's career path and the tendency for audiences to praise talented actresses who can "play down" their accents. Examples of French actresses who were not able to translate their successes in their native country to the States include Emmanuelle Beart (Mission Impossible, as Jim Voight's husband) and Virginie Ledoyen (Leonardo DiCaprio's screen siren French girlfriend in The Beach). Whereas Juliette Binoche has enjoyed great success in both worlds and soon will young Cotillard as her English-speaking productions will prove an advantage in lending herself gained audience recognition.

Cotillard has more reasons to celebrate today because she not only is a certified international star, but maybe more of a "international American French sweetheart." Although she has yet to jump aboard any American projects, a slew of critics' awards in the near future will open nothing but enormous opportunity for this sensational actress.

And you may ask: what is her next move? She's currently in talks with the Weinstein Company in joining the ensemble cast of "Nine."