True to itself, it is through a woman’s eyes, and a psychological analysis that Lisa Azuelos we book the deeply moving Biopic DALIDA. In a bias which is assumed, the director pours more about what was really Yolanda Gigliotti in private following the thread-almost chronological of his songs. By tracing the sentimental life of the artist, from his first injury of a child to their impact on his adult life, it allows us as well to understand the desperate act ” of a modern woman who lived in a time that was less so “.
For who discovers the life of Dalida through this Biopic, or harbours any expectation as to its content compared to reality, this film is a marvel. It offers the viewer everything that can rejoice in the cinema : the excitement, the entertainment and the power of narrative images. Lisa Azuelos us an eyeful with a realization controlled, a power that goes crescendo, an aesthetics and a casting exceptional.
To begin with, the structure of the film is an essential component of its effectiveness. It is divided into two parts : before and after her suicide attempt in 1967. The first, a bit more slowly, sets the scene : the childhood of Dalida, the paramount importance of the gaze that the others were on her, her early traumas (including those related to the separation and then to the loss of his father), his arrival in the world of showbiz and the first big disappointments of the heart that lead to this near-death experience. The second part, on the strength of this that we have learned in the previous one, makes the events more poignant. She recounts the journey that has followed Dalida to try to continue to give a meaning to his life, to fill the loneliness deep inside him through the song, the public, his entourage, and of the men she has frequented. The film is punctuated by some of the most famous songs of the artist in which the director intelligently uses the lyrics as in the texts of the scenes which pass under our eyes and go like this dialogue unnecessary. Except He had just turned 18 years of age who is displaced from a few years before that Dalida has sung (in order to stick to the events), the other opus follow one another chronologically, and strengthen greatly the power of images by avoiding the lengths.
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Lisa Azuelos brings us so artfully into the condition to experience the empathy necessary to Dalida, while playing on the aesthetics of modern film. If the sets, the gorgeous costumes, the choreography, and even the physique of the actress who interprets Dalida (Sveva Alviti) draw from reality, the film director has modernized the set to give us improved vision, ” the flavor of the day “, that seduces more while avoiding the ringardise. By doing this, it gives the public (and his brother Orlando), the best possible image of the star.
But the greatest strength of the film remains the choice of Sveva Alviti , who embodies his character with so much power and natural that, in the eyes of the spectators, she no longer plays Dalida, it becomes Dalida. Its grace, its elegance and its uniqueness subjugate them. Like Lucien Morisse (her first husband, played by Jean-Paul Rouve) when it was discovered in a radio hook, we are seduced and envoûtes from his first appearances. Through his particular voice, the charm of his accent, the softness and vulnerability that she exudes, one can only be moved to each event, which stakes its destiny to be so taxing. We can only be upset when she sings I’m sick at the Olympia and struggling when the men who share in his life bombard him hurtful language. Finally, even if we would not let her go, we can only understand and respect his gesture ultimate…
So it is a successful bet for Lisa Azuelos , who, at beyond we offer a film cinematically to the height, sends a message by giving a meaning to the suicide of Dalida. In speaking of this woman who has never found his place in this world, in spite of the immense success it has encountered, and the fact that it has been able to live his passion, it shows us that the only thing that matters when we approach the end, this is shared with the beings we have loved. For Dalida, in the absence so painful to children, that is what she has lived with her family and the men in her life (hence the choice to focus the biopic on this aspect). The fame and success will, at best, allowed to Dalida to hold out for longer by offering him compensation, at worst, exacerbated the guilt she felt of not being able to be happy.
Through this feature, it is accepted as well as marked since childhood, Yolanda Gigliotti has undeniably spent his life searching for “the Great Love” that panserait his wounds. Unfortunately, the failures and suicides successive of her lovers had done was to take away all hope of being foreign to their cause and strengthen their well-being. From the point of view it offers on the tragic fate of Dalida, Lisa Azuelos, socially very engaged in the cause of women, so just wanted to show that it was vain to look for love from others when we didn’t give to yourself. It tells us that in the absence of this self-esteem, plagued by complexes, or the guilt that is self-inflicted, any love story is fake (even harmful) because it is restricted to only the meeting of two neuroses. A message that will speak without doubt to many viewers, regardless of their gender. However, on leaving, one cannot help but think that this woman would have been able to have a fate different to a time where women have the right to live a love with a younger man, to a child alone or to have an abortion in good conditions…
Stephanie Ayache
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