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For: Mercedes Álvarez
“Coconut, from the rebelliousness to the Chanel legend” it is the storied title for the biography on the young years of the brilliant French seamstress, Gabrielle Chanel, from his years of orphan-asylum in Aubazine until it begins to triumph in Paris. The director of the movie, Anne Fontaine, said that it was trying “to discover the interior Coconut life when it was young, poor, without education, but already with a slightly common impressive personality in a woman of his epoch“.
To reconstruct these young years of Chanel, Fontaine bases on the biography of Edmonde Charles-Roux, L'Irrégulière, in which Coconut – nicknamed this way by a coplilla that alumnus was singing “I have lost Cocó, my dear dog” - is a girl of strong, unconformist genius, although capricious and a little unbalanced, that wants to go out as it is of the poverty without having to marry for it, although, of course, it is not important for him to accumulate and even simultanear lovers.

Two are the masculine replies that help him to obtain it, as they are the millionaire Balsan (Benoît Poelvoorde) and his big love, the Englishman Boy Capel (Alessandro Nivola), died prematurely in car accident.

The result is a melancholic and very cynical version on the personality of Cocó and his position with regard to the marriage and the love. Yes it proved to be opposed to the conventionalities and social fashions, and there the actress Audrey Tautou shows all his records in looks, silences and rebelliousnesses, increased by his big similar physicist with the certification Chanel. A curious fact is that proper Audrey Tautou has been an image of the mark only one year ago, for the interest of the French signature to recover this clearly French, slightly diluted style.

The movie is not any marvel. It is slow, sometimes tedious and it is not known very well what Cocó de Fontaine wants really. The photo is simply correct, and perhaps the most notable thing the sugerente staging is, with the beautiful French country. The scriptwriters show, without criticizing it, the hypocrisy of the epoch, the frivolous and amoral way in the diversions of the rich ones or the way of dressing of the women. More they are interested in the reiteration in the sexual tension of the plot, and there manages to make not to come to the public this emotive element that gives him something of soul.

As for the topic of the fashion, it happens on tiptoe. Scarcely it covers the records with some phrase opposite to the corsets, to the brads and frippery or to the pens of the hats – “there look like confectionery meringues on the head”-. Scarcely there is shown the design of the black "fourreau" in the scene of the dance and only a few strokes on the inspiration in the popular elements or in the jerséis of point that so much he liked. The best thing, undoubtedly – although they obviate the decades jump - there is the final scene of the parade of models between mirrors, with one Audrey really radiant Tautou, embedded in his characteristic pearls and in his most famous suit of tweed.

Title role:
Original title: Coconut avant Chanel
Director: Anne Fontaine
Script: Anne Fontaine, Camille Fontaine.
Interpreters: Audrey Tautou, Benoît Poelvoorde, Alessandro Nivola, Marie Gillain, Emmanuelle Devos.
Producer: Warner BROS France
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