Coco antes de Chanel

Directed by Anne Fontaine and based upon the book by Edmonde Charles-Roux, Coco Before Chanel is a biographical tale of Gabrielle "Coco" Chanel set a timeline which is just that, before she founded the fashion empire. So for those who are more intrigued about the fashion world and the impact Chanel has on it, then this is not the movie you're looking for, as it firmly dwells on Coco as a person, and her romantic dalliances with two men who played significant roles in her life, be it in support of her daily sustenance, or inspiring and providing fuel for her desire to make a name for herself.

The film dedicated plenty of time in Coco's awakening toward the French high life of the time, since she became a voluntary kept mistress of rich playboy Etienne Balsan (Benoit Poelvoorde), who in a way had rescued her from poverty, and whose riches afforded to her provided that access to the slacker lifestyles of the rich and famous. The audience too get reminded time and again of how stifling a woman's place in high society was at the turn of the century, made worse by the restrictive clothing like corsets, frills, and lace from the neck right down to sweeping the floors. Coco's disdain and penchant for freedom led to bold designs that do not conform, starting from her hats which provided her some attention and notoriety even.

As Coco Chanel, Audrey Tautou epitomizes that level of elegance, vulnerability and rebellious streak to do things differently. Her petiteness and somewhat boyish cut figure probably suited the role really well as the initial designs by Coco were those inspired by menswear, though you only get glimpses of her design genius from short montages scattered throughout, and from some scenes which show her working at a tailor shop, but other than that you will gain very little from this bio-pic other than the messy love life that she got herself into, first with benefactor of sorts Etienne, who treated her nothing more than an object to bed in exchange for lodging, then Alessandro Nivola's Arthur "Boy"Capel, a businessman with whom she falls head over heels with. The romances do make you wonder about how careless the treatment of emotions are, where love and issues of marriage are quite trivially handled.

While Anne Fontaine nailed down the look of the film, the feel somehow was found to be lacking, as apart from the romantic angle, nothing else really rang through until the last act, which was a very hastily down finale to show the tremendous progress Coco had undergone once she had closed her heart, where she had broken through a society and introduced radical changes to an industry, from hats to influencing a lot more in the fashion world. How she did exactly that, is best left to another film because this one had little else other than repeated shots of scissors going through fabric.

Without a doubt the clothes here are the star of the show, from the fashions of societal norms in both directions of the rich-poor spectrum, to Coco Chanel's designs for her own with her menswear inspired pieces, and unfortunately, the glamour-chic pieces only making it through in a parting shot at the finale, since the founding of the business empire was grossly passed over deliberately. The opulently designed clothes of that era stand in stark contrast to the Chanel pieces, which celebrates sheer beauty and elegance in their simplicity, and probably from there, stamping its mark on the fashion industry.

Don't approach this film with an expectation that you would learn something of the beginnings of Chanel the brand and how it became the icon of today. In fact, it's more about the love and early life of its founder, who without her accomplishment and the name backing her, could have turned out to be nothing more than a generic, average, and perhaps even strange romantic picture. And of course, this is also for Audrey Tautou fans who'll lap up her look as Coco Chanel in those chic garbs.

What do you want in a foreign period film? Beautiful locations? Check. Class struggle? Check. Subtitles? Check. All that's missing is urgency.

Coco Chanel is a French legend. The designer of the ground-breaking haute couture style, creator of the huge fashion brand Chanel, and a forward-thinker in terms of women's independence. Chanel is a complex and dynamic personality. Makes me want to see a movie called "Coco During Chanel". But "Coco Before Chanel"? Not so much.

Audrey Tautou does a commendable job of playing Chanel in her early years (and looks a lot like Chanel in the movie's later scenes). Adding complications to the idea is the fact that there is little known about Chanel's youth, and what is known often has conflicting stories. But be prepared, what does happen in "Coco Before Chanel", happens slowly. This, in a movie that portrays the French elite as people with crazy money, outlandish parties and a constant desire to quench their boredom. I desired the same.

Although she often denied it, Chanel was brought to an orphanage early in life (this was denied mainly to prevent preconceptions of her as an undesirable). The film sharply cuts to late teens/early twenties Coco (real name, Gabrielle), singing with her sister in clubs to make a buck. It was the plight of women in the 1890s to find a man or fear being lost in society. Coco's sister was beholden to a man for thirty years, and he FINALLY married her after his parents died so he wouldn't have to explain to them that he married an orphan (for shame!). This assnine mentality is certainly worth rebelling against, but Coco remains passive for too much of the movie. She is taken in by a wild playboy named Balsan (expertly played by Benoit Poelvoorde) and is mistreated by him for years. Chanel wants to answer to no man and wants to design clothes that avoid the feathers and corset that alter a woman's natural body. But again, this is done with little dramatic flair and many, many pages of slow-moving script. Coco came off as a little too inert for a little too long.

This movie is the first of the late-year potential Oscar nominees. Tautou's performance is a maybe, but the costume design is a sure thing, and rightfully so. The Chanel style is famous, they have to nail it, and they did, while also building gorgeous period outfits for the rich, end-of-century French culture and a few military outfits as well.

The score by Alexandre Desplat does a lot to enhance a few of the scenes, and the cinematography is lush. I want to give a special nod to Alessandro Nivola, who's very good here and very good in everything, but the guy doesn't appear in enough high-profile stuff. He sits very comfortably in the French language here and smolders in some of his more romantic moments like a poor man's Ralph Fiennes.

A traumatic event late in the film propels Coco to launch into her designing full speed. That moment felt a little rushed and the whole ending follows suit. What I wanted at the end was the "Coco During Chanel" movie to start, so, then, that could be kind of a success for the film? But remember, I wanted "Coco During Chanel" going in, so really, the whole 'before' story just felt like slow filler. Frills, perhaps? Padding?

"Coco before Chanel" is exactly that; the life of an impoverished girl up until the start of what became a fashion empire.

This I must say is a different kind of a biopic. There was some sort of subtleness about it, everything was going too slow and not much was happening in terms of demonstrating that this hopeless little girl from nowhere had this extraordinary talent for cloth-making. Yes we did see her advocating simplicity in times of great extravagance and even dressing up (probably) her first clients but had the viewer not been aware of the brand "Chanel" he or she would have to wait until the finishing titles to realise Coco turned out to become a fashion icon.

If there is one thing about Coco is that she was a rebel; in a late 19th century puritan society she stood up for what she believed, refused to get married and instead of settling for a wedlock with a rich spouse she chose to live the adventure, go to Paris and start up a hat shop.

It seems however that her rebellious nature extended to her design skills. To use her own words: "Simplicity is the keynote of all true elegance." Coco Chanel always kept the clothing she designed simple, comfortable and revealing. Unlike most designers in that Europe, she kept the woman inside the clothes at the center of her creations. "I gave women a sense of freedom; I gave them back their bodies: bodies that were drenched in sweat, due to fashion's finery, lace, corsets, underclothes, padding." Perhaps it was fate or desperation from her impoverished upbringing but the affair with the playboy millionaire and, later, his best friend were pivotal to give her the push she needed to make a start. Though not an expert on French upper class culture but were quite impressed how civilized and elegant the two men were when it came to loving and pursuing the same woman.

All in all a decent film but no wow factor.

COCO AVANT CHANEL simply means Coco's life before Chanel as we know her now. So here is a film about her 'then'. This very well produced film has many pluses and two glaring and irritating minuses. On the plus side we have a costly film that displays delicious art direction and production values with lavish or complicated vintage scenes set in extravagant re creationed times or within gorgeous mansions and breathtaking seaside locations... all with superb costumes. However, this film, more about an hour of its running time suffers from the same annoying factors that spoiled the recent film MA VIE EN ROSE, the bio pic of Edith Piaf: 1: a cranky and rude personality who is ungrateful when benefactors assist and 2: idiotic photography closeups where the hand held camera darts about between people talking or following someone's hands when they are doing something eg: Coco is at a table sewing so the camera is gawking about in closeup of her reaching for things. There are several grand set pieces: racetrack and ballroom magnificence, well dressed and filmed and a fashion sequence later in the story that is (again) all too brief. The first 40 minuets of orphanage and cabaret misery and rudeness mirror LA VIE EN ROSE too much and only later when Coco falls in love with "Boy" (Alessandro Nivola) and they romance by the sea does the film lighten a bit and she actually for a few minutes becomes likable. Oherwise it is Gallic aloofness well dressed but at odds with allowing the audience in too far.

I love Chanel. I can't actually afford the clothes, but that won't stop me from liking them. Just like reading one or two bad reviews didn't stop me from wanting to see 'Coco Avant Chanel'.

The first part of the movie seemed very promising. It didn't take me long to like Coco's character, and everything seemed to have a reasonable pace. Then the movie zooms in on Coco's relationship with 'Boy' and you keep hoping things get interesting, but they don't.

I spent most of the movie admiring the wonderful atmosphere while the lovebirds exchanged meaningful looks. I would have liked this movie more if it paid more attention to things like Coco's hat shop, rather than a relationship of which we all know the ending anyway.

The best thing about this movie is the wonderful atmosphere, but if you don't like slow romance you can skip this one.