The film Coco Chanel & Igor Stravinsky opens in Paris in 1913 at the Theatre Des Champs-Elysees with Russian composer Igor Stravinsky (Mikkelsen) debuting his key piece The Rite of Spring – with Coco Chanel captivated in the audience…
COCO CHANEL & IGOR STRAVINSKY
One would assume from the title alone – encompassing the monikers of arguably two of the most artistic legends of the 20th century – that this film would evoke enough inspiration, entertainment and thoughtful coverage of the lives and loves of the great musician and designer extraordinaire in question to keep your head in the clouds for weeks. One would, in this case, unfortunately assume incorrectly.
Despite ringing in actors of the calibre of Mads Mikkelsen and Anna Mouglalis for the lead roles, and boasting costume and set design so beautiful you could weep, this film falls painfully short of entertainment at all, and if anything dances dangerously close to bordering soft porn for the majority of the scenes depicting Chanel and Stravinsky in the same room. Which is, er, the majority of the 120 minutes.
The film opens in Paris in 1913 at the Theatre Des Champs-Elysees with Russian composer Igor Stravinsky (Mikkelsen) debuting his key piece The Rite of Spring – with Coco Chanel captivated in the audience. However, it is not until the pair meet 7 years later that their love affair ensues. Chanel, now an established and successful designer in her own right, encounters the penniless Stravinsky, now a refugee along with his wife and children. Chanel invites him and his family to live with her in her villa in Garches– thus beginning a passionate affair that was to greatly influence both of them in years to come.
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Karl Lagerfeld – the genius German designer currently responsible for carrying on the legacy that is Chanel – endorsed this film from the outset; generously opening up Chanel’s archives and wardrobe collection to ensure a true to life and authentic portrayal of Chanel herself was guaranteed. Phenomenal pieces from Chanel’s personal wardrobe feature, with Lagerfeld also creating a custom gown for Mouglalis worn in the pivotal theatre scene.
However even the Midas touch of Lagerfeld himself apparently could not rescue this film from the cinematic abyss. Chanel fans will no doubt love it anyway if only for the original artefacts and history depicted, but movie-goers in need of an entertainment fix will be forced elsewhere – thanks to a lagging plot, unrealistic sequences and an often harsh portrayal of Chanel herself, leaving the viewer with a somewhat bitter aftertaste of the famed icon.
The affair between Chanel and Stravinsky came across as self-gratifying, damaging and so apparently driven by lust and ambition that no empathy could even be felt towards their plight. Stravinsky’s wife, the unfortunate third in the love triangle, was powerless under the thumb of the wealthy and indifferent Chanel, and forced to watch her husband cavorting with a beautiful woman right under her nose. Played by Russian actress Elena Morozova, her character offered the most depth and genuine emotion, with all credit to the actress in question providing such a performance despite such a lack-lustre script to work with.
Comparisons between this and the previously released Coco Avant Chanel featuring Audrey Tatou are inevitable – with the latter taking out the gong as the clear winner as far as Chanel biopics are concerned. Perhaps some history should be left in the past – even history as beautifully clad and famous as this.
– Jaimee Abict, June 2010
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