Biopics have always found their way into the Hollywood sphere. Audiences love a true story almost as much as they love a work of fiction, it seems. More recently, bio-stories have taken center stage across streaming services and theatres alike with shows like WeCrashed, Inventing Anna, and even films like Father Stu. Biopics are typically made with the blessing and sometimes even the help of the inspirational subject or even their families and friends. However, there have been instances when biopics have been made without the acceptance of the subject or subjects, making them “unofficial.” This is where one of the most current, loosely-termed biopic comes into focus.
Aline is a French-Canadian musical dramedy which was co-written and directed by Valérie Lemercier, who also stars in the film. It follows the life of musical prodigy Aline Dieu as she is signed at 12 years old with a musical producer, Guy-Claude, who later becomes her lover and eventual husband, despite the immense age difference. The film seems to tick off each of Celine Dion’s life events in time, despite the opening statement of the film reading, “This film is inspired by the life of Celine Dion. It is, however, a work of fiction.” It seems as though the film changed names, but not events and life occurrences.
Even though the film displays the life of Aline from the age of a toddler to a teenager and into adulthood, Lemercier portrays every age. The fifty-something-year-old actress plays every life stage of the singer through trick camera angles and visual effects. These tactics, however, do nothing to tackle the mature face of Lemercier and its unsettling nature when presented as a young child. Lemercier says that she wanted to be able to play all the ages and even filmed a scene where her face was placed on a 6-month-old baby, but the scene was cut at the request of her producer.
The Star
Valérie Lemercier is a French actress, screenwriter, director, and singer. She is a massive Celine Dion fan, which led to her making the unofficial biopic. She believes the two have lived parallel lives in many aspects, including their similar looks and growing up looking unconventional. She was much like the young prodigy in that she attended a conservatory for dance, music, and drama. Her big debut was in 1988 in a television series called Palace.
When the screenplay was finished, Lemercier wanted it approved by Dion or at least someone close to her in order to prove that “this film was well-meaning.” However, this is not the first unofficial biopic that Lemercier has written. She wrote a 2005 comedy called Palais royal!, which detailed the life of Diana, Princess of Wales. Lemercier is a very private person, so not much else is known about her, but she does enjoy making a splash with her work: “I like being the center of attention.”
The Response
French critics have praised the film since its premiere at the Cannes Film Festival. They hailed Lemercier as “magnificent” and called the film “jubilant and very touching.” Many French critics even gave her credit, calling it her best film to date, which, given that her career includes 36 films is no small feat. Lemercier took home a Cesar Award, much like a French Oscar, for Best Actress and the film received another nine nominations. However, despite the praise, the American reception of the film has been quite different.
Americans were more disturbed by the younger sequences, coining the film “kooky as hell” and “truly weird.” Critics were taken aback by the effects Lemercier took to create her childlike self, calling them “baffling,” “scary,” and “downright creepy.” Even Dion’s family denounced the film, saying that they “don’t recognize” their family and that several scenes “went too far.” Dion herself has not seen the movie and has not made plans to the contrary. The film has other issues, too.
The timing and pacing of everything feel entirely too fast. When one issue arises, it is fixed within minutes, and then another and another and another. The film also doesn’t allow for any real truths to be told. It’s so busy telling story after story it doesn’t delve into the deep revelations those stories could give. Take the relationship showcased between “Aline” and “Guy-Claude,” modeled after Dion and her manager-turned-husband, René Angélil. It starts as an inappropriate flirtation but is quickly forgotten as such and then transformed into this epic love story.
In today’s climate, it could have been taken down a much different path, one that has something important to say about women and how they’re treated when they grow up in show business and are expected to grow too fast. Overall, the film could have been an important piece but is left feeling “soft with no real deep truths.”