Chanel's Dolorien
April 10th 2010 06:35
As we take a trip back in time, prepping ourselves in 1920's garb as one half Fred Astaire and the other Shirley Temple, to the 2010 French Film Festival where we can observe the forces that bind one muse to another like only the big screen can provide for.
Chanel, in her latest biopic, is presented as a down-the-line enterprising sign of the future. She has allowed an east-meets-west mish mash of a household to define her post WW1 mansion, at least for the duration of Igor Stravinsky and family's stay.
Stravinsky is also a man who prefers to get to the point, with the full intentions of his theatrical productions from his Communist Russia heartland to take over the headlines of Parisian papers.
In a monetary sense, he needs her more than she needs him. And she lets him know it, with a rare glimpse of cutting dialogue she delivers in the mass of acres that makes up her backyard; "I don't want to be your mistress."
The forever-luminous fashion designer acts as a sort of International Monetary Fund, personally providing the financial backing of his production strictly in the interest of creative and masculine stimulation that is being provided by Stravinsky and his piano in her main living area.
Okay maybe I'm taking it a bit too far here..
The dialogue is minimal, which I believe was used to maximise the mood of the times. It is an artistic conception of high-end extra-marital affairs in the early 1900's, and paints a picture evocative of sights rarely seen up until this time: a woman tempting a married man into bed directly under the nose of Governmental and Familial authorities.
You know what I mean, she's being cheeky and has the power to get away with it. An independent woman who will stand tall despite the failings in life.
Coco Chanel & Igor Stravinsky is a deeply moving take on their brief acquaintance, certainly a cinematic feat that only the French can deliver. Four and a half stars from moi.
Chanel, in her latest biopic, is presented as a down-the-line enterprising sign of the future. She has allowed an east-meets-west mish mash of a household to define her post WW1 mansion, at least for the duration of Igor Stravinsky and family's stay.
Stravinsky is also a man who prefers to get to the point, with the full intentions of his theatrical productions from his Communist Russia heartland to take over the headlines of Parisian papers.
In a monetary sense, he needs her more than she needs him. And she lets him know it, with a rare glimpse of cutting dialogue she delivers in the mass of acres that makes up her backyard; "I don't want to be your mistress."
The forever-luminous fashion designer acts as a sort of International Monetary Fund, personally providing the financial backing of his production strictly in the interest of creative and masculine stimulation that is being provided by Stravinsky and his piano in her main living area.
Okay maybe I'm taking it a bit too far here..
The dialogue is minimal, which I believe was used to maximise the mood of the times. It is an artistic conception of high-end extra-marital affairs in the early 1900's, and paints a picture evocative of sights rarely seen up until this time: a woman tempting a married man into bed directly under the nose of Governmental and Familial authorities.
You know what I mean, she's being cheeky and has the power to get away with it. An independent woman who will stand tall despite the failings in life.
Coco Chanel & Igor Stravinsky is a deeply moving take on their brief acquaintance, certainly a cinematic feat that only the French can deliver. Four and a half stars from moi.
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