Coco Chanel & Igor Stravinsky Review
COCO CHANEL & IGOR STRAVINSKY is a sumptuously beautiful film to watch - all artsy art nouveau decor, almost devoid of conversation, with captiating portrayals of two of the 20th century's most creative talents - Coco and Igor - played with distant but memorable acting by Anna Mouglalis and Mads Mikkelsen. And there is enough of the core star (Stravinsky's 'Le sacre du printemps') of the 'biography' to make it musically stable. But the problem with this otherwise tasty peak into the lives of Coco and Igor is the lack of accuracy of fact. Perhaps that is what writers Chris Greenhalgh, Carlo De Boutiny, writer/director Jan Kounen had in mind: drop a few elements of fact, mix those with a huge dollop of imagination and create a moment of lust and frustration that usually accompanies the public and private lives of stars. Perhaps in their eyes, fiction is stranger than fact.
What we do know is that prior to the May 29, 1913, at the Théatre des Champs-Elysées in Paris scandalous premiere of 'Le sacre du printemps' Igor Stravinsky (Mads Mikkelsen) was a very successful composer of such favorites as 'The Firebird' and 'Petrouska' and before his premiere of 'Le sacre' was presented by the Ballet Russes under the direction of Diagilev (Grigori Manukov) with choreography by the notorious Vaslav Nijinsky (Marek Kossakowski in a very bland portrayal): Stravinsky would later write in his autobiography of the process of working with Nijinsky on the choreography, stating that "the poor boy knew nothing of music" and that Nijinsky "had been saddled with a task beyond his capacity." In the audience is the icy Coco Chanel (Anna Mouglalis) who, still grieving for her deceased lover Boy Patel (Anatole Taubman), connects with the primitive passions of the production. The film then cuts to 1920 with Stravinsky and his four children and tuberculous wife Katerina (Yelena Morozova) barely existing in Paris when Diaghilev introduces Stravinsky to the wealthy patron Coco Chanel who invites the poverty stricken Stravinsky family to stay in her lavish villa outside Paris where Stravinsky composes while Katerina copies her husband's music and Coco keeps her successful Parisian business and seeks out her famous perfume Chanel No. 5. Some history books (including memoirs by Stravinsky himself) state that the stay lasted for only 2 weeks and that the two were simply close friends, but the creators of the film would have us believe that a torrid love affair occurred under the eyes of Katerina, a lusty sexual fulfilling of a need for both geniuses which ends in Katerina and the children moving out to Biarritz and distance develops between Igor and Coco: the secretive patronage of Coco to the Ballet Russes is supposed to have allowed a new performance of the 'Sacre' with costumes designed by Chanel and re-choreographed by Leonid Massine - the truth of these elements cannot be proved.
So what we have here is a two hour nearly wordless study of the needs of two famous people colliding in an affair but also focusing the world of Paris' attention on new ways of creativity. Mikkelsen and Mouglalis are terrific if cold, the 'love' scenes are beautifully photographed, and the decor of Chanel's house and all of the costumes are splendid. Gabriel Yared provides a musical score that is based on phrases from Stravinsky and makes for an exciting background for this visual outing. It is worth viewing if only to step inside the Paris of the time of the two main characters. Just don't expect solid facts to reign! Grady Harp, September 10
Coco Chanel & Igor Stravinsky Overview
Paris 1913. At the Theatre Des Champs-Elysées, Igor Stravinsky premieres “The Rite Of Spring”. Coco Chanel is mesmerized…But the revolutionary work is too modern: the enraged audience boos. A near riot ensues. Seven years later, Coco Chanel meets Stravinsky again - a penniless refugee living in exile after the Russian Revolution. The attraction between them is immediate and electric. Coco offers Stravinsky and his family the use of her villa in Garches so that he will be able to continue his work. And so a passionate, intense love affair between two fascinating creative giants begins…
Coco Chanel & Igor Stravinsky Specifications
The larger-than-life personalities of the fashion designer Gabrielle "Coco" Chanel and the composer Igor Stravinsky light up the period drama Coco Chanel & Igor Stravinsky, which is rich in visual and musical details. The captivating French actress Anna Mouglalis gives her Coco a cool, steely elegance, a chilliness that pervades even the extensive and erotic love scenes. The Danish actor Mads Mikkelson plays Stravinsky, a tortured Russian composer who nonetheless has a relatively normal family life and an adoring wife. Stravinsky's and Chanel's worlds first collide in 1913, when the Ballets Russes first perform Stravinsky's avant-garde Rite of Spring in Paris, where high society is scandalized, but where Chanel becomes enchanted and intrigued with Stravinsky's music. The Dutch director Jan Kounen wisely lets Stravinsky's magical, compelling music unfold at its own rate; the ballet and music of Spring take up nearly 20 minutes of the beginning of the film. It's enough to captivate Chanel. Years later, the two meet again when Stravinsky is a penniless émigré in Paris after the Bolshevik Revolution. The two begin a cautious but purposeful dance--two independent, creative brains that cannot be constrained by social niceties or conventions. Once Chanel moves Stravinsky and his family into her country estate as a "patroness," an affair perhaps becomes inevitable. And the sensuality of the photography, the costumes, the music, and the love scenes is undeniable. One begins to wish, however, that the direction would be as crisp as the endless piles of brown leaves in which the brooding Stravinsky is shown lying, contemplating, always contemplating. Perhaps the fact that two intriguing artists of the 20th century collided and struck up an affair is not quite enough to hold together a film. And yet fans of Stravinsky and Chanel, as well as of 20th-century modernism, will find much to admire in Coco Chanel & Igor Stravinsky. --A.T. Hurley
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