DVD review: “Coco Before Chanel”
A version of this story appears in Friday’s Weekend Look section of The Oklahoman.
“Coco Before Chanel”
Audrey Tautou’s trademark elfin charm and sparkling smile are rarely on display in “Coco Before Chanel.” But the French actress’ studied portrayal of a pre-fame Gabrielle “Coco” Chanel forms the sturdy seams that hold together the slice-of-life biopic.
Director/co-writer Anne Fontaine’s French film opens as young Gabrielle, nicknamed Coco as a child, and her sister are dumped at an orphanage by their peddler father, who hardly gives them a glance as he rides away. Coco and Adrienne (Marie Gillain) grow up to become seamstresses, one of the few legitimate trades open to women in the early 20th century, but moonlight with song-and-dance duets in a local saloon. Coco hopes they will make their fortune as performers, but Adrienne breaks up the duo to become the mistress of a baron who frequents the club.
With few options but a fierce desire to rise out of poverty, Coco boldly pursues wealthy racehorse enthusiast Etienne Balsan (Benoit Poelvoorde) right to his estate outside Paris. Balsan keeps her richly fed and sheltered as long as she warms his bed, tends his needs and doesn’t forget her place. But he also indulges her truly revolutionary fashion choices as she casts off corsets, dons trousers and converts his shirts and ties into chic ensembles. Starting with actress Emilienne d’Alencon (Emmanuelle Devos), Coco starts designing elegant (as opposed to the then-typical frou-frou) hats for Balsan’s well-heeled former conquests.
Ardor and opportunity sweep into Coco’s life with the arrival of Balsan’s Brit businessman pal Arthur “Boy” Capel (Alessandro Nivola), who loves Chanel’s spirit and style enough to become her lover and financial backer but not enough to marry her instead of a moneyed Englishwoman.
“Coco Before Chanel” sharply illustrates the limited opportunities afforded to women in Coco’s time. Tautou’s Chanel clearly resents these constraints and resolutely makes whatever compromises and maneuvers she must to rise above her station. She viewed the fashion of the time with its restrictive undergarments, long, layered dresses and frilly, face-concealing hats as another way men oppressed women. So, when she cast off her corset and put on short, clean-lined dresses, she was not only making an audacious fashion statement, she also was making a revolutionary social one.
Like Chanel’s signature styles, Tautou’s turn as the youthful and determined future fashion icon holds the eye with its unadorned simplicity. With her wide, expressive eyes, unsmilingly assessing gazes and sharply critical tongue, Tautou’s Chanel fascinates despite her distinct dearth of warm and fuzzy likeability.
DVD features: Several brief making-of featurettes, Chanel biography, commentary and red carpet premiere clips.
— BAM
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