Paris 1913. Coco Chanel is infatuated with the rich and handsome Boy Capel, but she is also compelled by her work. Igor Stravinsky's The Rite of Spring is about to be performed. The ...
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Paris 1913. Coco Chanel is infatuated with the rich and handsome Boy Capel, but she is also compelled by her work. Igor Stravinsky's The Rite of Spring is about to be performed. The revolutionary dissonances of Igor's work parallel Coco's radical ideas. She wants to democratize women's fashion; he wants to redefine musical taste. Coco attends the scandalous first performance of The Rite in a chic white dress. The music and ballet are criticized as too modern, too foreign. Coco is moved but Igor is inconsolable. Paris 1920, Coco is newly wealthy and successful but grief-stricken after Boy's death in a car crash. Igor, following the Russian Revolution is now a penniless refugee living in exile in Paris. Coco is introduced to Igor by Diaghilev, impresario of the Ballets Russes. The attraction between them is instant and electric. Coco invites Igor along with his wife - now sick with consumption - together with his four children and a menagerie of birds to stay at her new villa, Bel ... Written by
Both Chanel and its then chief designer Karl Lagerfeld lent their support to the film, allowing the production access to the company archives and to Coco Chanel's apartment at 31, rue Cambon, Paris. See more »
In the opening scene in Chanel's apartment, the year is 1913. The record she is playing is the song, "You Made Me Love You." While the song was written in 1913, the version on her record player is the 1941 big band version by Harry James and Helen Forrest. See more »
The riot at the premiere of "The Rite of Spring" was much more raucous than this film depicts. The accompanying "Making of" featurette on the DVD shows much more violent action than made it into the final film.
All of Stravinsky's music throughout the movie is played slowly and sentimentally, which is not what this composer was all about.
We can only conclude that the director is more interested in baroque visuals than telling his story. In fact, it's impossible to believe that a blank stick like Mads Mikkelsen wrote such violent music. The lens is much kinder to Anna Mouglalis, who effortlessly steals all their scenes together, except for the bloodless sex scenes, in which neither are interesting.
But I can't believe we'd be talking about either of these personalities today if they'd been as boring and cataleptic in real life as they are in this film. If you want to see character in action, watch Alain Resnais's "Last Year at Marienbad" which compared to this is one long firecracker display.
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