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Piaf

Continued from page 9

nee idols of Hollywood in the 1940s and '50s. The sequences featuring their affair are a wonderful respite of joy and love from all the pain that overwhelms her story. And when Cerdan dies we know exactly why she is so devastated, because Martins makes us fall in love with him as well.

But the film belongs to Cotillard and Cotillard alone. This is not a feat of acting but a marvel of becoming.

Cotillard so wonderfully channels the eccentricity, the soul, the being of Piaf that it is hard to imagine anyone even coming close to her inhabitation of this torrid role. Cotillard has the mannerisms-especially during her concerts-down cold. While she lip-synchs most of the numbers in the film, without it being obvious, it is reported that Cotillard did some of her own singing too. But never for one moment do we not believe that we are watching Piaf on

screen.

Plus, Cotillard has the thankless job of playing a woman who was never attractive in any conventional sense.

The alcohol, morphine and Piaf's tantrums added to her unattractiveness and by the time she is on her deathbed, thinning

hair, drooling mouth and all, Cotillard's transformation is mesmerizing.

There have been some great biopics in recent years and some rather marvelous performances of real people. Cotillard certainly belongs in that company. She should enjoy the same early lock on the Best Actress Oscar that Helen Mirren had last year for The Queen.

The film ends with Piaf singing her signature tune "Non, Je Ne Regrette Rien," translated as "No Regret." (Incidentally, the late Marlon Riggs adopted the title of his 1993 movie on black men and AIDS from this song.) Watching Cotillard perform that last number will give you goose bumps and chills down your spine. She should certainly have no regrets about her performance—it is one for the ages.

Piaf was disallowed a church burial by the Catholic church. Yet her funeral brought out thousands, like those Eva Peron and Princess Diana. She was buried in the PereLaChaise cemetery with other troubled luminaries like Maria Callas, Frederick Chopin, Marcel Proust, Getrude Stein, Sarah Bernhardt, Jim Morrison and Oscar Wilde. Even in death, she had the sense and taste to know that she wanted to spend eternity with other people who had mattered, who had lived life blazing like shooting stars with no regrets-small or largewhatsoever.

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DeChant

ぐ

Continued from page 8 company, collect a paycheck and feel the floor from inside their work boots."

First coming to prominence with Victoria Fliegel and Alexis Antes in Odd Girl Out during the early 1990s; DeChant has now experienced success both as a "solo" artist (although the band for her shows is quite stable) and as part of a group. That gives her an interesting viewpoint on the dynamics of being "the boss" versus being a member of the team.

"As a solo artist, you are the point person. Final decisions are up to you," she noted. "I try to get feedback, talk things out. But I like the fact that I can make a final decision.”

"In a band, decisions are made by the group. That can help to thoroughly discuss things to get many different points of view," she continued. "But that can be time-consuming and often is. It can take weeks to make a decision that should take a few days. I don't like that."

"The time that is wasted can be more detrimental than making the wrong choice, learning from it and fixing it or making better choices the next time you are faced with a similar decision," she concluded.

"As far as the band you work with as a solo artist, I think you have to remember that there is no one that is more invested in your project than you, and that's okay," she opined. "In a band, you are more equally invested and that can be more of a comfort. When you're a solo artist, you have a lot more to do. It's the price you pay for some of the freedoms it affords you."

There are drawbacks and benefits to those freedoms, of course.

"It can be lonely sometimes," she said, before laughing, "If you're a solo artist, you never have to change your band name!" The CD is produced by Andy Ackland,

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who has worked with the Eagles, the Darkness, Jason Mraz and Tom Petty, among other artists. DeChant's lead guitarist, Matt Sobol, and backup singer Kelly Wright lent their talents to the album, which was recorded at Rolling Thunder Studios in San Diego, California.

Ackland's participation was a matter of expedience, more than anything, but it worked out well for DeChant.

"The studio selected Andy Ackland. He was the producer that Rolling Thunder Studios worked with primarily," she pointed out. "It's a blessing that we get along so well, have a mutual respect and that we could make this CD. He's a gem."

"I want to work with him on the next CD. We're already discussing ideas for it. I send him song ideas, he tells me to sing them on his phone recorder if I need to," she continued. "It's exciting and fun to know that someone is anxious and excited to create music with you."

After the disc is released, it's onwards and upwards for Anne E. DeChant, as she plans on "working smarter, not harder, bigger shows less often, selling some of my songs, seeking management that knows what to do with my talent beyond grassroots and has the clout to do it, maybe a move to Nashville for a while, a Grammy Award and an Academy Award for best song in a motion picture. More writing and more fishing!"

While that mention of an Academy Award may seem like off-handed humor, it could be closer to the truth than it seems. DeChant sold a song to All Out Films this summer for a documentary they are producing on comeIdian Kate Clinton.

Girls and Airplanes will be available at Borders Books and Music a week after the release, as well as on iTunes, CDBaby.com and on DeChant's own website, www.AnneEDeChant.com, along with a slew of her earlier releases and "Second Class Citizen" T-shirts and stickers.

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