REVIEW / FILM OPINION – With “Aline”, her ambitious latest film, Valérie Lemercier brilliantly takes up the challenge of evoking the exceptional career of singer Céline Dion, both in love and in glory, and achieves a sacred performance as an actress.
Aline, or how the chrysalis became a butterfly
Aline is one of those films which requires a latency time after viewing, which requires a longer moment of infusion and reflection. It’s not about loving or not loving Aline, halfway between biopic, homage and docu-fiction. It is rather a question of seizing and impregnating the filmic object and of understanding the reasons which made, throughout, to raise the hairs of our arms and explode with joy our hearts. The musical repertoire and the sublime voice of singer Victoria Sio obviously have a lot to do with it, taking the viewer into exalted romance.
Corn Aline especially gives the opportunity to (re) discover Celine Dion’s fabulous destiny, from which the director Valérie Lemercier was inspired with passion and tenderness. A passion such that she decided to interpret herself the character of Aline Dieu, Celine’s fictional double, from her 5 years old until she was 50 years old. A subtle transfer from Céline to Aline which allows the author to avoid the pitfall of hagiography, just like that of caricature.
The actress, thanks to a few clever tricks, is absolutely stunning in the gestures and the scenic expressions and manages to be completely forgotten (especially from 12 years old, because before, it is a little less true) to give to see on screen the artist who is part of our musical heritage. Love it or not, Celine Dion’s voice is indeed recognizable among a thousand, as is the story of her rise and stay at the peak of fame. Valérie is therefore Aline, but she is also Celine, it is her, but it is not her. The use of the first name also creates an immediate emotional bond between the spectator and the heroine and immediately abolishes the distance that the stars have with their audience., inviting him to come into and be a part of his life. Because it is above all the endearing woman, her roots and her feelings that are at the center of the film.
The spectator then lets himself be carried, and even carried away, by this modern fairy tale, whose director and her co-writer Brigitte Buc wisely planted the seeds from the childhood of Anglomard (Roc Lafortune), Aline’s father. We see him poor and mistreated by his father (a rascal who failed to steal his last lucky coin from his son), then marry with the will never to be a father, as if not to take the risk. to reproduce what he has known. This will not be the case since he will be the loving and beloved father of his fourteen children and he will transmit the famous piece to Aline, the youngest prodigy, who will keep it preciously at each of his concerts.
Not quite the same, not quite another
The common thread of the film is love, the sincere and the true, and the natural admiration that goes with it. What Valérie Lemercier manages very well to show is that Aline’s voice, this ” gift of God », Can only flourish if it is surrounded by a cocoon of love, energetic and emotional fuel, preserving it from the outside world. First of all, there is the love that the members of this family have for each other, all involved at different levels in Aline’s career, such as her mother Sylvette (Danielle Fichaud) or her brother Jean-Bobin (Antoine Vézina).
Then the unreasonable love that the young girl will quickly feel for her impresario Guy-Claude Kamart (Sylvain Marcel), René Angélil’s perfect fictional double. A forbidden love of a ” princess towards an old prune », Finally accepted by Sylvette then hidden from the public, before being able to be experienced and assumed in broad daylight. And finally Aline’s love for her children. Aline’s life, as in a parallel world of Celine’s life, is also shown through the prism of her accomplice friendship with her makeup artist Fred (Jean-Noël Brouté).
Yes Aline seriously tackles his subject, the director’s own humor is not absent since we have a lot of fun watching Aline grow up, as clumsy and naive as he is clever. During this frankly jubilant learning phase, one cannot help drawing a parallel between the life of Aline and that of the Lepidoptera. Because the film tells very well how the chrysalis of the teenager, bad dancer without rhythm, with crooked teeth, with her Quebecois accent and not speaking English, metamorphoses into the star butterfly with majestic wings that we know. The only difference is that it …