Coco Before Chanel

Directed by Anne Fontaine and co-written with Camille Fontaine, Coco avant Chanel (Coco Before Chanel) is the story of Coco Chanel’s early life and rise into becoming one of the top fashion designers in the world. Based on the book by Edmond Charles-Roux, the film is a bio-pic of Chanel that focuses on her early years where she starts out as an obscure seamstress and mistress into finding ideas that would revolutionize fashion. Starring Audrey Tautou as Coco Chanel, the film also stars Benoit Poelvoorde, Alessandro Nivola, Marie Gillain, and Emmanuelle Devos. Coco avant Chanel is an extraordinary yet gorgeous bio-pic from Anne Fontaine.

It’s 1918 as Gabrielle “Coco” Chanel and her sister Adrienne (Marie Gillain) are working at a bar singing songs as they meet a socialite named Etienne Balsan (Benoit Poelvoorde). While Gabrielle also works part time as a seamstress, she becomes friends with Balsan as they talk about ideas where she eventually becomes her mistress. When Adrienne reveals she’s getting married to another baron, Gabrielle decides to join Balsan at his countryside estate where Adrienne lives nearby. Though living at his home seemed fun, it eventually bores Gabrielle who is forced to entertain Balsan’s guests as she meets a vivacious stage actress in Emilienne d’Alencon (Emmanuelle Devos) and a young British businessman named Arthur “Boy” Capel (Alessandro Nivola.

While Coco starts to create designer hats that simplifies the look of the hats of the times, she begins to fall for Capel as he is amazed by the clothes she wears as well as her approach to fashion. With d’Alencon also impressed by the design of Coco’s hats, Coco begins to wonder about the world of fashion as she goes on a brief holiday with Capel to the beach where she gets some new ideas. Still frustrated with her time with Balsan, she decides to leave while learning that Capel is set to marry a woman for business reasons. Yet, Capel makes an offer to give her money to help start her own business as she leaves Balsan to go on her own. Just as she was starting to find success, tragedy would happen forcing Coco to find inspiration to become the icon of fashion design.

Most bio-pics would often go into a person’s life by creating dramatic interpretations into one’s life and see how they would rise, fall, and eventually redeem themselves. What Anne Fontaine and her-co writer Camille did is to simply focus on Coco Chanel’s early life before she became famous instead of focusing on her entire life. While with a lot of bio-pics, there are dramatic liberties that are used to advance the story. The script doesn’t go too much into that but rather see how this young woman who starts off being a mistress for a baron as she finds inspiration through what women are wearing.

Chanel is presented as this woman who is a rebellious figure of sorts in the way she deconstructs the idea of what women should wear. To her, the idea of wearing these lavish yet big dresses and hats filled with lots of accessories seems very silly. What Chanel does is strip all of that down. By wearing trousers, shoes with no heels, a hat with no accessories, a shirt, and underwear underneath with no corsets. All of it is Chanel’s idea to make a woman look and feel comfortable. The script really delves into Chanel’s approach to fashion while proving that through the love affairs that she goes through, it would make her become a woman of independence that would define her legacy. While she it doesn’t mean that she needs a man in her life, she does like the idea of having someone to be with and to support her. The Fontaines’ script is superb for the way it studies Chanel in the way she would develop from this orphaned mistress into the woman that she becomes.

Anne Fontaine’s direction is truly hypnotic for the way she frames many of the countryside scenes as well as keeping the film simple with any kind of melodrama. There is a much more controlled yet subtle approach to the direction as it’s all about Chanel taking in the posh world she surrounds herself in while being also a bit disgusted with it. Fontaine always has the camera moving but in a slow movement for Chanel to look at the people and its surroundings while showing how she would make these dresses. There is a simplicity to Fontaine’s direction that is very entrancing as well as maintaining an elegance that is very intoxicating to watch. Overall, Fontaine creates a solid yet enchanting film that doesn’t try to play to the conventions of the bio-pic genre.

Cinematographer Christophe Beaucarne does a great job with the film‘s lush yet exquisite cinematography that captures the beauty of the French countryside while heightening it with colorful lighting to enhance the look for its interior settings. Beaucarne also keep things simple for the scene at the beach as well as exterior shots in Paris to exemplify Chanel’s desire for simplicity. Editor Luc Barnier does an excellent job with the editing to maintain a pretty straightforward approach to pacing and cutting while using a few transitional fade-outs to help move the film quite seamlessly.

Production designer Olivier Radot does a fantastic job with the art direction from the look of the bars that Coco worked at to the Balsan estate that is very spacious and elegant that would give Coco a place to find her ideas. Costume designer Catherine Leterrier does an amazing job with the clothes the men wear to the lavish dresses the women wear circa-1913. Yet, it would be the clothes that Chanel would wear that proves to be inspiring as it would be the prototypes for the clothes that would define her and women’s fashion in the years to come. Makeup and hair designers Thi Thanh Tu Nguyen and Jane Milon do a brilliant job with the hair and makeup that the women wear from big hair that d‘Alencon sports to the more simple look of Chanel that would become the modern look.

Sound editor Jean-Claude Laureux does a fine job with the sound work to capture the intimacy of the Balsan estate as well as the raucous party scenes that goes on throughout portions of the film. The film’s score by Alexandre Desplat is magnificent for its sweeping yet delicate orchestral arrangements that is filled with somber piano pieces to more dream-like pieces to play up to Chanel’s own rising interest in the world around her. Notably as Desplat also creates pieces to bring energy to Chanel in the creation of the clothes that she would make for what is definitely a marvelous score

The casting by Antonia Dauphin is wonderful as it features a couple of small appearances from Lisa Cohen and Ines Bessalem in the respective young roles of Gabrielle and Adrienne Chanel. Other small but noteworthy performances include Marie Gillain as Coco’s supportive sister Adrienne and Emmanuelle Devos as the vivacious Emilienne d’Alencon. Alessandro Nivola is excellent as the charming yet quiet Boy Capel while Benoit Poelvoorde is great as the fun though lazy Balsan. Finally, there’s Audrey Tautou in an outstanding performance as Coco Chanel. Tautou brings a wonderful mix of energy and restraint to a woman that is clearly very stubborn and determined to make it as a designer. Tautou also brings an elegance that is very engaging to watch for the way she looks as it she makes Chanel into an intriguing personality that is very human as it’s definitely one of Tautou’s finest performances.

Coco avant Chanel is an excellent yet beautiful film from Anne Fontaine featuring a radiant performance from Audrey Tautou as Coco Chanel. The film is definitely a bio-pic that strays from the conventions of the genre while allowing the audience to be invested into the development of Chanel’s early years before she became the icon of the fashion world. Fans of Audrey Tautou will get a chance to see the actress bring a lot of dramatic weight and discipline to a figure that is so revered as Chanel. In the end, Coco avant Chanel is an exquisite yet captivating film from Anne Fontaine.

Anne Fontaine Films: (Love Affairs Usually End Badly) - (Augustin) - L’@mour est a reinventer) - Nettoyage a sec) - (Augustin, King of Kung-Fu) - (Comment j’ai tue mon pere) - (Nathalie…) - (In His Hands) - (Nouvelle Chance) - (The Girl from Monaco) - (My Worst Nightmare)

© thevoid99 2011

Wild Grass

Based on the works of Christian Gailly, Les Herbes Folles (Wild Grass) is the story of a dentist who loses her wallet that is later found by a married man who becomes fascinated by her picture as he tries to be in her life. Directed by Alain Resnais with an adapted script by Alex Reval and Laurent Herbiet, the film is a look about the way people get into other people’s lives through accidental means and its impact. Starring Sabine Azema, Andre Dussollier, Anne Consigny, Emmanuelle Devos, Mathieu Amalric, and narration by Edouard Baer. Les Herbes Folles is a quirky yet entrancing film from Alain Resnais.

After having her purse stolen by a thief, Marguerite Muir (Sabine Azema) is comprehend what happens as her wallet is later found in a mall parking lot by a man named Georges Palet (Andre Dussollier). Palet ponders what to do after looking into the contents of the wallet as he eventually decides to turn the wallet into the police as Bernard de Bordeaux (Mathieu Amalric) takes the wallet to return to Marguerite. Georges however, is wondering about what to do as he attempts to make contact with Marguerite as he’s trying to do usual activities for his wife Suzanne (Anne Consigny). Still, he ponders about Marguerite as his attempts to contact her leaves him disturbed where he finally reaches her through letters as things get weird.

Due to Georges’ behavior and the way he reacts though they haven’t met, Marguerite contacts Bernard for help as he and his partner Lucien (Michel Vuillermoz) talk to Georges to stop contact Marguerite. Georges does so though Marguerite remains intrigued by Georges as she wants to know more about him much to the chagrin of her dental partner Josepha (Emmanuelle Devos). Yet, Marguerite manages to contact Suzanne as she wants to meet Georges though things remain weird. Finally, Marguerite and Georges eventually meet though the meeting proves to be awkward. Yet, Marguerite wants to know more by making Georges an offer he couldn’t refuse.

The film is about the way fates play into the world as this eccentric yet lively woman, who is a dentist and likes to fly planes, has her purse stolen only for her wallet to be found by another man. Yet, this troubled yet quiet man would become interested in this woman as it would eventually cause trouble as his wife is confused by this interest while the woman’s friend is also baffled by it later on in the film. Yet, these two people have a shared interest in aviation though the letters they correspond through early in the film. Still, Georges’ own behavior and later, Marguerite’s own interest would lead to some consequences as the script works in terms of studying these two characters. Notably the way the try to contact each other and the impact it would have on the people around them.

Alain Resnais’ direction is entrancing for the way he presents the film with such style that makes it very engaging. With many scenes shot from a crane to emphasize everything that is from above, Resnais uses the style to ponder what Marguerite and Georges are thinking. There’s scenes where the two are driving in different scenes while their respective faces pop up in the frame to see what they’re going to do if they contact one another. The narrative jumps a bit to see how Marguerite learns about Georges when she meets Bernard as that scene is presented in a flashback. The film is filled with a lot of voice-over narration for the main characters to think about their own situations while the narration of Edouard Baer talks about the characters and their own back story. The film ends in a strange note while Resnais adds a bit of style to the film. There’s parts where the film lags a bit though it’s an overall wonderful film by Alain Resnais.

Cinematographer Eric Gautier does a brilliant job with the film‘s colorful yet lush cinematography to complement the naturalistic look of the scenes involving grass and nature to a more stylized yet soft look for some nighttime scenes and the opening purse theft sequence. Editor Herve de Luze does a very good job with the film’s stylized editing as a lot of it is straightforward while the transitional fade-outs help the film move well despite a few pacing issues.

Production designer Jacques Saulnier does an excellent job with the set pieces created such as Georges‘ home as well as the home of Marguerite while her dentist office features paintings of the Beatles. Costume designer Jackie Budin does a superb job with the costumes from the darker clothes that Georges wear to the more colorful look of Marguerite to display their personalities. Sound editor Gerard Hardy and mixer Jean-Marie Blondel do an incredible job with the sound work to emphasize the locations and places the characters go into. The film’s score by Mark Snow is wonderful for its plaintive piano pieces that ranges from light-hearted to somber as well as some dark, brooding electronic pieces.

The casting for the film is amazing for the ensemble that is created as it includes appearances from Sara Forestier and Vladimir Consigny as the young-adult children of Georges and Suzanne, Nicolas Duvauchelle as the son-in-law, Annie Cordy as a neighbor of Marguerite, Michel Vuillermoz as Bernard’s police partner, and Roger Pierre as an elderly patient of Marguerite. Mathieu Amalric is very good as Bernard, a police officer who tries to smooth things out and make sure no one gets into trouble. Emmanuelle Devos is excellent as Josepha, Marguerite’s friend/business partner who tries to deal with Marguerite’s sudden interest in Georges. Anne Consigny is wonderful as Georges’ wife Suzanne who tries to figure out Georges’ interest while she would also make contact with Marguerite.

Finally there’s Sabine Azema and Andre Dussollier in fantastic performances in their respective roles of Marguerite and Georges. Azema brings a wonderfully lively yet laid-back performance to a woman who likes to fly and do her duties only to become more intrigued by the man who found her wallet. Dussollier adds a complexity to a man who is very troubled as well as kind as someone wanting to know this woman only to back off due to his own troubled behavior. Azema and Dussollier, two regulars of Resnais, have an amazing chemistry to the way the react each other that involves some light humor to their performances.

Les Herbes Folles is an excellent film from Alain Resnais that features a stellar ensemble cast led by Sabine Azema and Andre Dussollier. While it’s a more low-key film from Resnais, it’s a film that is fascinating for the way he plays with the idea of fate. It’s a film also proves that Resnais, a key figure of the French New Wave, still has some things to say though it’s a film that isn’t perfect due to a few pacing issues. Still, Les Herbes Folles is a terrific yet majestic film from Alain Resnais.

Alain Resnais Films: Night and Fog - Hiroshima Mon Amour - Last Year at Marienbad - (Muriel) - (The War is Over) - (Je T’aime, je t’aime) - (Stavisky) - (Providence) - Mon oncle D'Amerique - (Life is a Bed of Roses) - (Love Unto Death) - (Melo) - (I Want to Go Home) - (Gershwin) - (Smoking/No Smoking) - (Same Old Song) - (Not on the Lips) - (Private Fears in Public Places) - (You Haven’t Seen Anything Yet) - (Life of Riley)

© thevoid99 2011