There are movies that I sit through and thoroughly enjoy from start to finish. There are movies that I sit through and extremely loathe. And then there are movies that I think, “Ok, this movie is goooooood, but why am I not enjoying it more?” Coco Avant Chanel fits in the latter category. I’m always fascinated by a good, ol’ fashioned biopic that tells a great story about how someone became something great, and while Coco Avant Chanel gives us the small details of what made Coco Chanel different than other French designers during her time (which, let’s face it, spanned over 50 years), it doesn’t give us the rewards of her struggles. It could have used more of Coco Après Chanel.
Read more after the jump!
Read more after the jump!
It’s rumored that Keira Knightley was considered for the role as Coco Chanel, which would have been a travesty. Audrey Tautou has charmed audiences since her Amelie days, and, stepping into Chanel’s shoes, she still continues to charm, albeit more subtly. Coco Avant Chanel tells the story of how Chanel went from orphan being raised by nuns to cabaret singer to hat designer to one of the most respected fashion designers of the 20th century, although, it ends before all that fashion business, leaving a distinct hole without the culmination of Chanel’s labors.
Directed by Anne Fontaine, the film delivers its intent soundly enough. It gives us a real insight on how Chanel became so unique in her fashions. As a poor orphan, she learned to sew as a way to make a living, and when her nightclub dreams failed, she moved in with a wealthy man. But, it’s not what it sounds like. Her Baron does not pamper her, or treat her like a courtesan. Chanel almost views their “relationship” as a business transaction. Armed with her pride and disdain for the gaudy hats and restricting corsets of the era, she looked towards her male companion’s wardrobe for inspiration, often cutting up his expensive shirts and making comfortable suits to wear. Chanel is stubborn and unyielding, and she professes that she does not believe in love.
Of course, she undoubtedly falls in love, with a rich Englishman who whisks her away to the sea for fabulous trips, which, in turn, inspires more of her menswear-themed couture. He also helps her become completely independent from her Baron, enabling her to move to Paris and open a hat shop. It wouldn’t be a biopic without some tragedy, and Coco Avant Chanel isn’t without some. But instead of being bogged down by the tragic, the plot device just further propels Chanel’s desire to make it out on her own, everyone else be damned. It’s a great story, especially juxtaposed with today’s prolific romantic comedies that reinforce the whole “women need to get married to be fulfilled” theme.
Tautou plays Chanel beautifully. She is strong, blunt, and commanding with a hint of vulnerability underneath. Her eyes truly convey past struggles but also the sense of wonder of looking at the sea for the first time. Even though the story is a bit on the boring side, Tautou acts the hell out of a great role of a woman who’s maybe not the nicest or the most sympathetic. She also looks the part with her boyish frame and not-quite-feminine features. She wears the menswear-inspired clothing beautifully, looking more comfortable in suits and ties than frilly dresses. My only wish is that we could actually see more of her later designs.
Although Coco Avant Chanel has a great premise, is beautifully acted, and gorgeously shot, the ending is slightly unsatisfying. It’s like when I eat out with vegetarian friends. Sure, the meal was delicious, but I go home craving a little bit more.
--Darcie Duttweiler
Directed by Anne Fontaine, the film delivers its intent soundly enough. It gives us a real insight on how Chanel became so unique in her fashions. As a poor orphan, she learned to sew as a way to make a living, and when her nightclub dreams failed, she moved in with a wealthy man. But, it’s not what it sounds like. Her Baron does not pamper her, or treat her like a courtesan. Chanel almost views their “relationship” as a business transaction. Armed with her pride and disdain for the gaudy hats and restricting corsets of the era, she looked towards her male companion’s wardrobe for inspiration, often cutting up his expensive shirts and making comfortable suits to wear. Chanel is stubborn and unyielding, and she professes that she does not believe in love.
Of course, she undoubtedly falls in love, with a rich Englishman who whisks her away to the sea for fabulous trips, which, in turn, inspires more of her menswear-themed couture. He also helps her become completely independent from her Baron, enabling her to move to Paris and open a hat shop. It wouldn’t be a biopic without some tragedy, and Coco Avant Chanel isn’t without some. But instead of being bogged down by the tragic, the plot device just further propels Chanel’s desire to make it out on her own, everyone else be damned. It’s a great story, especially juxtaposed with today’s prolific romantic comedies that reinforce the whole “women need to get married to be fulfilled” theme.
Tautou plays Chanel beautifully. She is strong, blunt, and commanding with a hint of vulnerability underneath. Her eyes truly convey past struggles but also the sense of wonder of looking at the sea for the first time. Even though the story is a bit on the boring side, Tautou acts the hell out of a great role of a woman who’s maybe not the nicest or the most sympathetic. She also looks the part with her boyish frame and not-quite-feminine features. She wears the menswear-inspired clothing beautifully, looking more comfortable in suits and ties than frilly dresses. My only wish is that we could actually see more of her later designs.
Although Coco Avant Chanel has a great premise, is beautifully acted, and gorgeously shot, the ending is slightly unsatisfying. It’s like when I eat out with vegetarian friends. Sure, the meal was delicious, but I go home craving a little bit more.
--Darcie Duttweiler
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