A look at the life of French designer Yves Saint-Laurent from the beginning of his career in 1958 when he met his lover and business partner, Pierre Bergé.

Director:

Jalil Lespert

Writers:

Marie-Pierre Huster (scenario), Jalil Lespert (scenario) | 4 more credits »
2 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
Pierre Niney ... Yves Saint Laurent (as Pierre Niney de la Comédie-Française)
Guillaume Gallienne ... Pierre Bergé (as Guillaume Gallienne de la Comédie Française)
Charlotte Le Bon ... Victoire Doutreleau
Laura Smet ... Loulou de la Falaise
Marie de Villepin ... Betty Catroux
Nikolai Kinski ... Karl Lagerfeld
Ruben Alves Ruben Alves ... Fernando Sanchez
Astrid Whettnall ... Yvonne de Peyerimhoff
Marianne Basler ... Lucienne Saint-Laurent
Jean-Édouard Bodziak Jean-Édouard Bodziak ... Bernard Buffet
Adeline D'Hermy Adeline D'Hermy ... Anne-Marie Munoz (as Adeline D'Hermy de la Comédie-Française)
Xavier Lafitte Xavier Lafitte ... Jacques de Bascher
Alexandre Steiger Alexandre Steiger ... Jean-Pierre Debord
Philippe Morier-Genoud Philippe Morier-Genoud ... Jean Cocteau
Anne Alvaro Anne Alvaro ... Marie-Louise Bousquet
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Storyline

A look at the life of French designer Yves Saint-Laurent from the beginning of his career in 1958 when he met his lover and business partner, Pierre Bergé.

Plot Summary | Add Synopsis

Taglines:

Fashions fade. Style is forever.

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated R for sexual content and drug use | See all certifications »

Parents Guide:

View content advisory »
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Did You Know?

Trivia

Pierre Bergé, who is played in the film by Guillaume Gallienne, worked closely with director Jalil Lespert and gave the crew extensive access to his archives. See more »

Goofs

YSL's black leather Beat collection is shown as having been created in 1964 in the film, suggesting YSL was a leader of the Mod look of the mid 1960s, but in fact his Beat collection was done in 1960 and was too youthful for Dior clientele at the time and the main reason YSL was fired from Dior. See more »

Quotes

Yves Saint Laurent: I don't fear critics.
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Soundtracks

Défilé Christian Dior
by Ibrahim Maalouf
© 2013 WY Productions
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User Reviews

 
Film Review: Yves Saint Laurent/ www.nightfilmreviews.com
18 August 2014 | by lucasnochezSee all my reviews

Becoming a trend-setter in the fashion industry can be quite the challenge, but making a fashion movie with some cinematic and historical merit is the real challenge many have been willing to accept, and have failed miserably. Even though there are so many irreplaceable names within fashion with such interesting stories to tell (Dior, Arden, Versace, Ford, Varvatos, Gucci and Chanel to name a few), director Jalil Lespert chooses Yves Saint Laurent; one of the few fashion icons to have his pieces of high fashion and considerably iconic art pieces displayed in museums and prestigious art galleries around the world. Yet, with Yves Saint Laurent, we aren't quite sure if that is simply enough for a biopic of this stature.

Lacking any real panache and coming undone at the poorly constructed narrative seams, Yves Saint Laurent becomes a retro-fitted cinematic mess that, similar to many of Luarent's pieces, is more fun to look at than to wear, or in this case, follow narratively. Yves Saint Laurent depicts the tormented life of a genius, torn apart by the luxuries of high living and fame at too young an age. While Laurent could never possibly be taken away from being a visionary, his newest film by veteran French actor Jalil Lespert focuses more on its grainy, melancholic exterior than it does with coherently telling the story of one of the most revolutionary haute couture designers of the mid-1900's.

One of Lespert's greatest facilitators of telling Laurent's story is sex, and his story begins at the tender age of a twenty-one when Yves Henri Donat Mathieu-Saint-Laurent (Pierre Niney) was simply the assistant to Christian Dior. Lespert's film is a daunting task of understanding the ambiguity of silence and the mixed feelings of Laurent, who makes advances to his female friend and model Victoire Doutreleau (Charlotte Le Bon), yet exchanges undressing glares to his Algerian male gardener–this introduction of the film really throws audiences off. Thankfully, the slight glimmer of brilliance that is Lespert's film is understood fully once it is revealed that Laurent is a homosexual, and falls in love with Pierre Bergé (Guillaume Gallienne) in a seamlessly idyllic visit to a friend's Northern villa. Although Laurent's marriage to Bergé is never seen on film, rather, the tyrannical disputes of power within Laurent's fashion empire and the constant sexual espionage between the couple is used to replace some of the fluffy, real life moments between the couple, the real life Bergé applauded the film for being a rather authentic look of the life of he and his questionable true love. It's too bad Lespert's film is ruined with an annoying voice-over narration that reveals the film as B-grade cinema rather than stuffy, fine-French cinema couture.

Lespert is keen on making it clear that, Laurent had always led a privileged life, despite the horrors occurring in Oran, French Algeria (his birthplace) at the time of the late 1950's, and his family's move away from Algeria at the time and into France. Villa to villa, despite Laurent's apparent talent for fashion and designing, it shows just how much luck (good and bad), and being at the right place at the right time gave Laurent the opportunity to head the House of Dior, following Dior's sudden death at the age of fifty-two. But, the impact of the Algerian War of Independence doesn't stop there as it sucks Laurent back in when he is conscripted to join the French Army. Despite being the head of the House of Dior, Laurent enlists, only to be subjected to wide variety of medical tests that lead to illness, with tortuous means of remedy and an expulsion as Head Designer and a chance to head his own fashion house in the early 1960's, YSL.

One of Yves Saint Laurent's strengths as a film is showing the relationship between our self titled character and giving audiences a glimpse into the complicated life that he and his life partner, Bergé, really had. The heart of the film is seen between Niney and Gallienne, who give great insight on the chemistry between the great minds of such a powerful fashion brand and the inner workings of business geniuses, but a poorly matched couple. While watching the film, I couldn't help but notice how tasteful and well-constructed the scenes and relationship between Bergé and Laurent is highlighted, while earlier films this year, specifically the narratively crippled James Brown biopic Get On Up hardly gives justice to the complex inner workings of the business partnership and friendship between James Brown and notoriously anonymous Bobby Byrd.

I have to admit, up until the film introduces Laurent's muse Loulou de la Falaise, played by Laura Smet, I was confused, as I knew that Léa Seydoux (Blue is the Warmest Color) strolled the red carpet in Cannes earlier this year for her role as the infamous muse. Once I was out of the theatre and was able to check my smart phone, it became clear that indeed, Seydoux did play de la Falaise, but not in this Laurent film. Saint Laurent, the other Yves Saint Laurent film made this year, who made its premiere at the Cannes Film Festival, will surely be a daunting competition for this film, seeing as it was embraced and accepted into the highest class film festival, while this Laurent film may very well be the department store version of the Laurent story.


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Details

Country:

France | Belgium

Language:

French | English | Russian | Arabic | Japanese

Release Date:

8 January 2014 (France) See more »

Also Known As:

Yves Saint Laurent See more »

Filming Locations:

Paris, France See more »

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Box Office

Budget:

EUR12,000,000 (estimated)

Opening Weekend USA:

$24,207, 29 June 2014

Gross USA:

$723,593

Cumulative Worldwide Gross:

$21,026,290
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
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