One of the great Pariesenne actors of the modern age, Marion Cotillard crossed over to this side of the Atlantic with great aplomb with her breakthrough, Oscar-winning performance as the great French singer Edith Piaf in La Vie en Rose (2007). Once Hollywood caught the eye of her uncommon talent and beauty, the offers came fast and furious. Over the last seventeen years, Cotillard has proven to be one of the finest actresses of her era. She turned 49 this week. Here are her top seven.
As always, just remember, the only list that really matters is your own.
7. The Dark Knight Rises (2012): Talk about adding a touch of class to a superhero movie, Cotillard accomplishes that and more in the final film of Christopher Nolan’s Batman trilogy. As the CEO of Wayne Industries, Cotillard’s deceptive performance as Miranda Tate (later to be revealed as the daughter of the villainous Ra’s al Ghul), elevates Nolan’s film every moment she is on screen. While Cotillard is a naturally warm actor, her dark side is available to her at the flip of a switch. There isn’t a single second that she isn’t convincing before or after she makes her turn. You can tell early on from subtle looks and vocal inflection that Tate is not what she seems. Some regard the third film of Nolan’s trilogy as the “runt of the litter.” Maybe it is, but if so, not because of Cotillard.
6. Inception (2010): Two years before joining forces on The Dark Knight Rises, Cotillard and Nolan first worked together on the massively successful mind-bender of a movie, Inception. While the film is nearly impossible to describe in capsule form (and not all that easy in long form either), let’s just say that Leonardo DiCaprio plays an “extractor” named Dom Cobb (terrible name, but whatever) who performs corporate espionage by infiltrating the dreams of his targets. (Yeah, I know that doesn’t fit neatly on a poster or within a synopsis). The emotional thrust of the story is carried by Cobb’s haunted memories and dreams of his wife, played by Cotillard. Inception is very much a Christopher Nolan film in that he is constantly working from a place of misdirection (no pun intended), always wrongfooting the viewer just as we feel as if the ground has solidified beneath us. In some ways, you could argue that Nolan is a bit of a trickster as a filmmaker, but he’s not a cheap one. His genius is in almost always (Tenet aside) creating at least one character that you can’t help but feel great empathy for. In Inception, that character is played by Cotillard. She reminds me of the great song by Shane Macgowan and Sinead O’Connor, “Haunted.”
I want to be haunted by the ghost
I want to be haunted by the ghost
I want to be haunted by the ghost
I want to be haunted by the ghost
Of your precious love
And hey, if you are going to be haunted by anyone, Cotillard would not be a bad card to draw.
5. The Immigrant (2013): Written by director James Gray with Cotillard and Joaquin Phoenix in mind, The Immigrant tells the story of Ewa, a Polish migrant who comes to New York City seeking a better life after World War One. Shortly after arriving with her sister, she is conned by Phoenix’s character Bruno, who claims to be a representative of “The Travelers Aid Society,” but turns out to be a con man who buys Ewa’s freedom only to be sold into prostitution. She soon becomes caught between Bruno and a magician named Emil (Jeremy Renner), resulting in tragic consequences. The Immigrant is a heavy lift, and despite the high-caliber performances delivered by Phoenix and Renner, most of the film rests on Cotillard’s shoulders as her Ewa tries to make her way in the States while also attempting to gain the freedom of her quarantined (due to illness) sister. Let’s just say those slim shoulders of Cotillard do not struggle in the slightest with the heft of the material.
4. La Vie en Rose (2007): While filmed in French, La Vie en Rose is the film that made Cotillard into a worldwide star. Some critics struggled with aspects of the film, particularly its non-linear structure, but no film pundit found Cotillard to be anything less than luminous in her portrayal of the tragic life of France’s greatest singing voice, Edith Piaf. Few films have ever been more dependent on the performance of their lead, and Cotillard more than meets the challenge. She is La Vie en Rose, and whatever issues one might have with the film as a whole or in certain aspects, there can be no denying that Cotillard gave a performance for the ages.
3. Public Enemies (2009): There are very few films that I can think of over the last fifteen years whose critical reception confused me more. That’s not to say that Michael Mann’s telling of the infamous bank robber John Dillinger (Johnny Depp, in his last great performance) and the FBI agent attempting to chase him down (Christian Bale) was panned upon release, but more that the reviews were in the modest to middling range. At the risk of protesting too much, I found the film to be an instant classic and hold that opinion to this day. A large part of my love for the film is centered around the relationship between Dillinger and a coat check girl named Billie Frechette (Cotillard). It’s a romance that starts faster than you can turn the key in your ignition. Dillinger sees her and wants her. Dillinger is a guy who doesn’t waste time when he wants something and tells her just how he feels in a monologue not so unlike (if less comedic) the famous speech Kevin Costner gave in Bull Durham when explaining what he believes to be important in life. Dillinger all but sweeps Frechette off her feet. As great as Depp is in that moment (and he’s plenty great), it’s the response from Cotillard’s big beautiful eyes that sells the scene. It’s as if you can see her considering her whole life in a second. Do I continue on with this dull, scraping-by life I’m living, or do I head off for adventure? Billie’s choice may come with tragic results, but never for a moment are you not convinced that she’s convinced of her decision. The final words of the film that are whispered into her ear by an FBI agent played by the terrific Stephen Lang are unforgettable: “Bye, bye blackbird.” If you’ve seen Public Enemies, I suspect you understand. If you haven’t, you should fix that.
2. Two Days, One Night (2014): Directed by the apostles of naturalism, Jean-Pierre and Luc Dardenne, Two Days, One Night is as down to the bone as cinema can get. After taking a leave of absence due to depression, a woman named Sandra returns to her factory job only to find that her position has been effectively eliminated as her boss, Mr. Dumont has spread out her duties among her co-workers. Instead of allowing her to return, he has offered each of Sandra’s sixteen co-workers the choice between a 1,000-pound bonus, or to allow Sandra to return. Only two of her peers vote for the latter. Over the next two days, Sandra (who is married, has a child, and desperately needs her job) is “given” the opportunity to talk to her fellow workers and convince them to change their votes. Two Days, One Night is interested in far more than Sandra’s challenge. The film is a morality tale where those who voted against her (many of whom are poor immigrants) have their reasons. When the re-vote is counted, what seems to lead to a joyful result comes with one hell of a catch, and then Sandra finds herself in a position not so dissimilar from those whose votes she pleaded for. The decision before her is harder than the task behind her. Cotillard is absolutely unforgettable in Two Days, One Night. She deservedly scored her second Oscar nomination for playing the anxiety-ridden Sandra. It’s one of the great performances of this century. Be forewarned though, the film is no easy sit. This one hurts.
1. Rust and Bone: I know of only one film about a professional kickboxer (Matthias Schoenaerts as Alain) and an Orca trainer (Cotillard as Stephanie), and Rust and Bone (directed by Jacques Audiard) is that one. Brought together by chance (aren’t we all?), the two begin an unusual relationship after Stephanie’s legs are amputated due to a horrifying accident. Alain and Stephanie first become friends and then sexual partners. In a different light, one might classify Rust and Bone as one of those movies about two people who love each other, but can’t bring themselves to commit to each other. However, the scars that Alain and Stephanie have on the outside may not be as deep as the ones they hide internally. I’m often leery of “happy endings,” but when they are hard-won, I will gladly accept them. And boy, there can be no arguing that the heart wrenching and halting steps Alain and Stephanie take towards one another are not some of the most difficult you’ll see on film. The work here by Cotillard and Schoenaerts (who, by the way, should be a much bigger deal) makes you feel every inch forward and back before finally surrendering to the idea of “us.” Rust and Bone is a stunning film. One of those you look back on and cannot imagine anyone else playing the leads. The chemistry between the two is vital to understanding how we as humans attempt to avoid love and pain before concluding you cannot have one without the other.
Postscript: Cotillard is wonderful in Woody Allen’s Midnight in Paris, but the part is too small to make the list. I’ve always believed that Justin Kurzel’s Macbeth (starring Michael Fassbender) is a deeply underrated take on the Bard’s tragic warrior, the film is the rare instance where Cotillard (in this case as Lady Macbeth) gives an uneven performance. Robert Zemeckis’ World War Two romantic drama, Allied, starring Cotillard and Pitt is beautiful to look at, but never achieves liftoff. And then there’s Annette, a legit crazy film starring Adam Driver and Cotillard, and scored by the alt-pop duo, Sparks. I didn’t know what to make of that film when I saw it the year it came out (2021), and nothing has changed for me since.
