Adapted from the novel by Chris Greenhalgh about the brief affair between the empress of 20th century fashion and the Russian composer, Coco Chanel et Igor Stravinsky is an exceptional production amongst the string of Coco Chanel films released in the past 2 years or so.
(Anna Mouglalis as Coco Chanel)
I finally got around to watching the film tonight and it was – by far- the best performance by an actress as Coco Chanel. Anna Mouglalis said the past few years as Karl Lagerfeld’s muse for Chanel served as an unconscious opportunity to prepare for this role. Audrey Tautou’s Coco in Coco Avant Chanel (Coco Before Chanel) was also a laudable performance, but the period of Chanel’s life that Coco et Igor focuses on allows much more room for complex emotions and the entanglement of passion to manifest itself in the respective art of Chanel and Stravinsky. Mouglalis’ Chanel is a darker and more powerful one.
(Audrey Tautou as Coco Chanel)
Paired with an excellent, emotionally charged score, the personas of Chanel and Stravinsky come to life before the black and white backdrop of Chanel’s workspace at 31 Rue Cambon and her country estate, decorated in similar hues. The details in both the Art Deco furnishings of the set decorations and the signature Chanel touches of Anna Mouglalis’ wardrobe as Chanel lend to the visual authenticity of the era, the woman, and the story.
The Grasse scenes – where Coco Chanel decides on the fifth scent, the legendary Chanel Nº 5 – could have been elaborated. Then again, the story of and behind the perfume likely deserves its own feature film. Mads Mikkelsen – most recognizable to American audiences as Le Chiffre from Casino Royale – is a hauntingly moving and conflicted Stravinsky. Passion, music, art, and fashion – what more could I ask for in a film?
we live in our clothes 