I havent seen
Benoit Poelvoorde in a film since he was murdering postmen and giving old women heart attacks in
Man Bites Dog; his verbal sparring with the delectable, and beautiful
Audrey Tautou, brings an unusual comedic touch to
Anne Fontaines bio-pic of
Coco Chanel. Depictions of the fashion industry in cinema often fluctuate between the vacuous, the inspired and the sinister,
Coco Before Chanel explores the early life of the woman behind 20th century haute couture. It is not a film centred on vanity and artistic desire. There seemed a great pragmatism to Chanel, who worked every day of her professional life until she literally dropped dead. There is something very admirable in that. Like the last big French movie
La Vie en Rose, this is a story of a womans rise from very humble beginnings. Unlike
Edith Piaf, Chanels life wasnt quite so tragically shambolic. Chanel and her sister were orphans from a young age. Yet both sisters seem intent on making their way in the world masking the psychological scars. In an era of artistic modernism in all fields of the arts, Chanels contribution was to revolutionise womens clothing. One character describes her as an anarchist. She got rid of traditional female styles that centred around corsets, massive skirts, big hats and major discomfort. Her own idiosyncratic sartorial experiments led to commissions from Parisian high society and much later, worldwide fame. But does this make for an interesting film? The answer is sometimes. The early scenes between Balsan (played by Poelvoorde), the soldier-aristocrat who befriends Chanel, are very funny and give the film a great verve. Once
Alessandro Nivola (speaking very good French) turns up as love interest Arthur Capel, the film becomes a little bit formulaic, as tragedy looms. Nivolas English-businessman-abroad is a bit of a bastard. He sweeps Chanel off her feet, yet makes it clear she can only ever be his mistress. Social prejudices and the financial aspirations of Capel get in their way. However, the relationship gives her a boost in securing a business set-up. As a film set in the early part of the 20th Century, the costume design and cinematography is sumptuous; very cleverly hinting at the passing of time without the aid of subtitles, instead introducing time changes through costume and hair styles. Tautou cuts a raffish figure as the pauper amongst the aristocracy. Her tom-boy leanings; she alters menswear into comfortable womens clothes causes quite a stir. I cant see this film doing the business and award collection that
La Vie en Rose managed. Despite it being a well acted, great-looking production, the lack of psychology into what makes an artist great leaves the film feeling a little empty. There was a great sadness in Chanels life and men seem to have been at the root of all her sorrow. As is the standard in biographical films, there is a post-film/pre-end credit note ensuring the audience is told that Chanel never married and lived to be a very old and very famous fashion designer. Didnt we know this already?