It has been said that the song's title, “La Vie en Rose,” was the name of a club/bordello where Piaf worked in 1943. Although that claim is uncertain, the song’s title was a masterful stroke of marketing with its indirect phrasing for the title of a song that is actually about love’s transformative power. It fit well with the strain of "color psychology" that had some purchase in France at the time with the popularity of American "film noir" and "blues" music. The expression “en rose” was not an uncommon way to use the color to suggest a positive or optimistic perspective (“in pink,” “rosey hues,” “rose-colored glasses”) but Piaf’s song gave it widespread popularity. She uses the phrase only once in the chorus, however, and it clearly refers to a subjective perception in response to love's allure (“Je vois la vie en rose”) rather than any objective change in circumstances.
The legal rights to the song were registered to Piaf herself at SACEM, the French professional association that registers copyrights, collects and distributes royalties, and rewards exceptional contributions to music. Piaf is credited with the lyrics, although her friend Marianne Michel reportedly modified the title from Piaf’s initial idea of “les trucs en rose” (“things in pink”) to “la vie en rose” (“life in pink”). The music is variously attributed to Marguerite Monnot, a longtime friend and collaborator, and Piaf’s piano accompanist Louis Guglielmi (aka Louiguy). The song was written and deposited at SACEM in 1945, sung in concert in 1946 and released in 1947 as a single by Columbia Records. Piaf's friend Marianne Michel actually recorded the song first in November 1946 for Odeon Records, accompanied by Jean Faustin. So, in a sense, Piaf's own version released in 1947 was a "cover" of Marianne Michel's song. Columbia Records released it in the US in July 1950.
"La vie en rose" became a musical biography of Piaf in 2007 when Olivier Dahan released his biopic film with that title starring Marion Cotillard. She won an Academy Award as Best Actress for her role as well as many other awards. Among legacy effects, the film cemented Piaf's association with the film/song title. In a curious illustration of the complications of language, however, the film's title itself took different forms in different countries. In France, the title was "La Môme" ("the kid" or "waif"). French people have the contextual knowledge that "La Môme Piaf" ("The sparrow kid") was a nickname that her manager Louis Leplée bestowed to leverage her diminutive stature. Since "La Môme," has no meaning in English, however, the title in the U.S. became "La vie en rose," which elicits association with Piaf for at least some people. In Canada, with its bilingual population, the film also went by "La vie en rose" to dispel possible confusion by anglophone inhabitants.
The song represents a benchmark in several ways. It heralded a general global postwar shift towards positivity that reflected relief with the end of WWII. It also marked a departure in Piaf’s focus from songs that addressed the gritty reality of her early life and a turn to themes more of the heart and general resonance. In 1943, she insisted in an interview: “I am not a chanteuse réaliste!,” referring to a term that describes her earlier repertoire that was heavy with stories of thugs, prostitutes and tragic liaisons. Such a focus was not surprising, given the accumulation of adverse events that dotted her early life. These included maternal abandonment, temporary blindness, poverty, death of 2-year old daughter, murder of her business manager, and more. It was also not surprising that her serial love affairs brought occasional rosiness to her life as recounted in the song. During the years that “La vie en rose” gestated, Piaf was involved in an affair with her mentee Yves Montand and on the brink of a tragic new one with French boxer Marcel Cerdan who died in a plane crash. “La Vie en Rose” revealed this reach for a different level of reality in both her life and her art and it resonated in the context of postwar escapism. It is also regarded as the first song of her repertoire that she wrote herself, followed by about 80 others.
The song's theme is the transformative power of love. Piaf sings indirectly, speaking about another person. She first describes a visual portrait of the object of love in the third person (in the verse) and her feelings (in the chorus). Such love is triggered by strong eyes, an elusive smile, hugs and whispered words of love. They trigger powerful effects that are both physical (lowered eyes, racing heart) and emotional. These alter one’s subjective perception of the world (“je vois la vie en rose”) and obliterate concerns, leading to nights of endless love, declarations of enduring commitment, and lifelong dedication. The French version repeats a Verse/Chorus combination twice, with the first 4-line verse followed by a 14-line chorus, followed by a 4-line bridge and the same 14-line chorus. Musically, following an orchestral introduction, the first verse falls back on a single, restrained brass instrument and then transitions into the chorus with full orchestral accompaniment. That sequence then repeats.
Piaf's French lyrics and its English translation follow the video below. For comparison, a side-by-side presentation of Piaf's lyrics, an English translation, and Mack David's adaptation is presented here. The story of Mack David's song is below.
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Des yeux qui font baiser les miens, Un rire qui se perd sur sa bouche, Voilà le portrait sans retouche De l’homme auquel j’appartiens Quand il me prend dans ses bras Il me parle tout bas, Je vois la vie en rose. Il me dit des mots d’amour, Des mots de tous les jours, Et ça me fait quelque chose. Il est entre dans mon coeur Une part de bonheur Dont je connais la cause. C’est lui pour moi. Moi pour lui dans la vie, Il me l’a dit, l’a juré pour la vie. Et dès que je l’aperçois Alors je sens en moi Mon coeur qui bat. Des nuits d’amour à ne plus en finir Un grand bonheur qui prend sa place Des ennuis des chagrins, s’effacent Heureux, heureux a en mourir. Quand il me prend dans ses bras Il me parle tout bas, Je vois la vie en rose. Il me dit des mots d’amour, Des mots de tous les jours, Et ça me fait quelque chose. Il est entré dans mon coeur Une part de bonheur Dont je connais la cause. C’est toi pour moi. Moi pour toi dans la vie, Il me l’a dit, l’a jure pour la vie. Et dès que je l’aperçois Alors je sens en moi Mon coeur qui bat |
Eyes that make me lower mine, A smile that slips from his lips, That’s a portrait without touchup, Of the man to whom I belong When he takes me into his arms He speaks to me softly I see life in pink hues. He says words of love, Words of every day, And that does something for me. He has entered into my heart A part of happiness Of which I know the cause It’s him for me. Me for him in life, He said it to me, and swore it for life. And once I see him Then I feel in myself My heart that beat. Nights of love that don’t end A great happiness that takes its place Troubles, griefs, bad times fade away Happy, happy to die. When he takes me into his arms He speaks to me softly I see life in pink hues. He says words of love to me, Words of every day And that does something for me. He has entered into my heart A part of happiness Of which I know the cause It’s you for me. Me for you in life, He said it to me, and swore it for life. And once I see him Then I feel in myself My heart that beats |
Mack David Version
Mack David
In 1950, Mack David, elder brother of famous American lyricist Hal David, wrote English lyrics for the song. David (1912-93) was a prolific American lyricist and songwriter with credits for more than one thousand songs who worked first in New York’s Tin Pan Alley and then in Hollywood. He earned recognition for his work on Disney films and received 8 Academy Award nominations for Best Song, including one for "Bibbidi-Bobbidi-Boo" in “Cinderella.” His affinity for the color pink was expressed not only in his English lyrics for Piaf’s “La vie en rose” but also in the lyrics he wrote for “Cherry Pink and Apple Blossom White.” The latter was a French song named "Cerisiers Roses et Pommiers Blancs" with music written by Louiguy (Louis Guglielmi) and original French lyrics by Jacques Larue that Cuban musician Pérez Prado popularized between 1953-5 in the U.S. [Luiguy wrote the music for Piaf's "La vie en rose" and Larue wrote lyrics for Lucienne Delyle's version of Django Reinhardt's "Nuages."]
Shortly after it was written, Luiguy's catchy tune for "La vie en rose" became hot property in the US as a musical platform for varied lyrics. In 1947, Mack David wrote lyrics for the tune in a song called "You're too dangerous, Cherie" that Buddy Clark sang in a Warner Bros. movie called "To the Victor." That song turned out to be a well-deserved flop. The next year (1948) Frank Eiten wrote lyrics for the same tune that famous British entertainer Dame Gracie Fields sang as "Take me to your heart again." Upset by this turn of events, in 1950 Mack David wrote his adaptation of "La vie en rose."
David's adaptation was a wholesale re-write that nevertheless retained the original French title and repeated it for emphasis several times in the text. The English version actually repeats the song's title more frequently than the French version, drawing on the marketing power of an established name. As often occurs with American adaptations of French songs, David's version is shorter and less vivid in its imagery than the French text. His theme does resemble Piaf's focus on the transformative power of love, although as explained below the frequent omission of a key verse attenuates this affinity. The English lyrics are ostensibly more intimate because they are addressed directly in the second person to love’s object with encouragements like: “Hold me close and hold me fast;” “kiss me;” “press me to your heart;” “speak;” and, “Give your heart and soul to me.”
David's adaptation in 1950 led to an eruption of both instrumental and vocal versions in the US that year and many years thereafter. It is a demographic twist of fate that, due to the numerical disproportion between the world’s English-speaking and French-speaking populations, Mack David’s English lyrics eventually settled as globally dominant although the French version appeared first and it remains one of Piaf’s signature songs.
So, whereas during its early days Luiguy's tune served as the musical scaffolding for several lyrical versions, after 1950 Mack David's version of "La vie en rose" became material for an endless series of vocal and instrumental interpretations. In 1950 alone, 7 Mack David versions reached the Billboard charts with Tony Martin's reaching highest (#9). There have been so many "covers" of the song by both famous and little-known artists that picking "the best" Mack David version rivals explaining the title's meaning as a parlor game of choice. In most cases that discussion ends with: "take your pick." All English language versions of “La vie en rose” build on Mack David’s adaptation of the song since simply singing an English translation of Piaf’s words can’t work. Any adaptation in another language, however, even if consistent with the core meaning of the original version, provides entirely new words that invariably miss facets of the original words.
The structure of David's version (without the "missing verse") includes 9 short lines of verse in 3 stanzas followed by 7 lines of chorus. The words "La vie en rose" appear 3 times so David wrote a total of 13 lines. This lyrical economy leads to varied interpretations that include instrumental interludes and repeats of some verses. Additionally, most of the actual recorded renditions of Mack David’s adaptation omit a crucial 4-line verse that is key to the overall meaning of the song. That meaning is the transformative power of true love. I call it the "missing verse," which is:
“I thought that love was just a word
They sang about in songs I heard
It took your kisses to reveal
That I was wrong and love is real”
This verse is key because it crystalizes the “aha” moment of recognition that real love transforms the meaning of existence. That’s when life becomes “en rose.” For unknown reasons, most (but not all) recorded versions of Mack David’s song entirely drop this verse. Its absence not only omits a key to the song’s meaning. It also leaves empty space because the remaining lines are too few to fill an entire song. The challenge for most performers with David's version therefore becomes keeping it interesting. Instrumentalists like Louis Armstrong can fill this void with instrumental bookends to the vocals. Vocalists like Dean Martin or Bing Crosby can take a leisurely stroll through the lyrics followed by a reprise of parts of the refrain or an insert of instrumental interludes or distracting riffs of “la, la, la….” Some artists fill in a segment of French lyrics that add authenticity. A few recordings do include the "missing verse" but differ where they put it, sometimes as the first verse and sometimes elsewhere. The song continues to lead a vibrant existence, however, including Lady Gaga's performance of the French version in the 2018 movie "A Star is Born."
Readers of this website deserve a full rendition of the "Mack David version." Since even Piaf herself "covered" Mack David and the song rightfully belongs to her, this is my pick (including the "missing verse").
Shortly after it was written, Luiguy's catchy tune for "La vie en rose" became hot property in the US as a musical platform for varied lyrics. In 1947, Mack David wrote lyrics for the tune in a song called "You're too dangerous, Cherie" that Buddy Clark sang in a Warner Bros. movie called "To the Victor." That song turned out to be a well-deserved flop. The next year (1948) Frank Eiten wrote lyrics for the same tune that famous British entertainer Dame Gracie Fields sang as "Take me to your heart again." Upset by this turn of events, in 1950 Mack David wrote his adaptation of "La vie en rose."
David's adaptation was a wholesale re-write that nevertheless retained the original French title and repeated it for emphasis several times in the text. The English version actually repeats the song's title more frequently than the French version, drawing on the marketing power of an established name. As often occurs with American adaptations of French songs, David's version is shorter and less vivid in its imagery than the French text. His theme does resemble Piaf's focus on the transformative power of love, although as explained below the frequent omission of a key verse attenuates this affinity. The English lyrics are ostensibly more intimate because they are addressed directly in the second person to love’s object with encouragements like: “Hold me close and hold me fast;” “kiss me;” “press me to your heart;” “speak;” and, “Give your heart and soul to me.”
David's adaptation in 1950 led to an eruption of both instrumental and vocal versions in the US that year and many years thereafter. It is a demographic twist of fate that, due to the numerical disproportion between the world’s English-speaking and French-speaking populations, Mack David’s English lyrics eventually settled as globally dominant although the French version appeared first and it remains one of Piaf’s signature songs.
So, whereas during its early days Luiguy's tune served as the musical scaffolding for several lyrical versions, after 1950 Mack David's version of "La vie en rose" became material for an endless series of vocal and instrumental interpretations. In 1950 alone, 7 Mack David versions reached the Billboard charts with Tony Martin's reaching highest (#9). There have been so many "covers" of the song by both famous and little-known artists that picking "the best" Mack David version rivals explaining the title's meaning as a parlor game of choice. In most cases that discussion ends with: "take your pick." All English language versions of “La vie en rose” build on Mack David’s adaptation of the song since simply singing an English translation of Piaf’s words can’t work. Any adaptation in another language, however, even if consistent with the core meaning of the original version, provides entirely new words that invariably miss facets of the original words.
The structure of David's version (without the "missing verse") includes 9 short lines of verse in 3 stanzas followed by 7 lines of chorus. The words "La vie en rose" appear 3 times so David wrote a total of 13 lines. This lyrical economy leads to varied interpretations that include instrumental interludes and repeats of some verses. Additionally, most of the actual recorded renditions of Mack David’s adaptation omit a crucial 4-line verse that is key to the overall meaning of the song. That meaning is the transformative power of true love. I call it the "missing verse," which is:
“I thought that love was just a word
They sang about in songs I heard
It took your kisses to reveal
That I was wrong and love is real”
This verse is key because it crystalizes the “aha” moment of recognition that real love transforms the meaning of existence. That’s when life becomes “en rose.” For unknown reasons, most (but not all) recorded versions of Mack David’s song entirely drop this verse. Its absence not only omits a key to the song’s meaning. It also leaves empty space because the remaining lines are too few to fill an entire song. The challenge for most performers with David's version therefore becomes keeping it interesting. Instrumentalists like Louis Armstrong can fill this void with instrumental bookends to the vocals. Vocalists like Dean Martin or Bing Crosby can take a leisurely stroll through the lyrics followed by a reprise of parts of the refrain or an insert of instrumental interludes or distracting riffs of “la, la, la….” Some artists fill in a segment of French lyrics that add authenticity. A few recordings do include the "missing verse" but differ where they put it, sometimes as the first verse and sometimes elsewhere. The song continues to lead a vibrant existence, however, including Lady Gaga's performance of the French version in the 2018 movie "A Star is Born."
Readers of this website deserve a full rendition of the "Mack David version." Since even Piaf herself "covered" Mack David and the song rightfully belongs to her, this is my pick (including the "missing verse").
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Verse Hold me close and hold me fast The magic spell you cast This is la vie en rose When you kiss me heaven sighs And though I close my eyes I see la vie en rose. When you press me to your heart I'm in a world apart A world where roses bloom Chorus And when you speak Angels sing from above. Every day words Seem to turn into love songs Give your heart and soul to me And life will always be La vie en rose. Verse I thought that love was just a word They sang about in songs I heard It took your kisses to reveal That I was wrong and love is real. |
Verse Hold me close and hold me fast The magic spell you cast This is la vie en rose When you kiss me heaven sighs And though I close my eyes I see la vie en rose. When you press me to your heart I'm in a world apart A world where roses bloom Chorus And when you speak Angels sing from above. Every day words Seem to turn into love songs Give your heart and soul to me And life will always be La vie en rose. |
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