“Only black shows off the eyes.”
Far ahead of her time and arguably the most iconic designer of the century, Gabrielle “Coco” Chanel understood – and virtually created – the appeal of simplicity.
However, before the little black dress (or the LBD, as it is known by fashion fiends across the world) and the collarless suit, the would-be icon Chanel was just another French cabaret singer.
In the biopic “Coco Before Chanel,” the woman before the mogul is astoundingly brought to life in a frilly, over-the-top world that she clearly resents.
Corsets are too tight and prevent proper breathing. Skirts are too full and prevent proper moving. Hats are too heavy and prevent proper thinking.
Best known for her performance in 2001’s “Amelie,” Audrey Tautou embodies the role of Chanel as comfortably and effortlessly as the character is dressed throughout the film. Always a stark contrast to her female contemporaries, Chanel manipulates menswear like it’s an addiction, and it’s completely fascinating to observe.
Tautou’s quick, pinpointed mannerisms match her speedy wit without appearing scripted. She speaks genuinely and frankly, unafraid of retaliation or misinterpretation.
It’s believed that some actors are destined or meant to play certain characters. Tautou was not meant for the role of Chanel – she is Chanel reincarnated.
Equally admirable performances by each supporting player enhance Tautou’s striking on-screen presence.
Benoit Poelvoorde is particularly noteworthy in his multifaceted role as Etienne Balsan – Chanel’s confidant, lover, investor and whipping boy – all the while as she falls for his business partner, Boy Capel (Alessandro Nivola).
An inevitable love triangle ensues, although the drama and emotion – similar to Chanel’s appearance and style – is appreciatively subtle. There are no bar brawls, Shakespearean-like soliloquies or elongated staring contests.
There is, however, chemistry.
Chanel’s dull, rationalistic perspective is blind-sided by Capel’s romanticized view of the world. Once cynical at the very thought of love and its ability to foster happiness, Chanel slowly evolves into a believer. Tautou and Nivola take on the weighty, infamous Chanel/Capel relationship with a fiery ease that is beautiful to watch unfold.
One particular scene takes place at a seaside casino where the couple has whisked off to. Having not packed any extravagant dancing attire, Chanel needs to design a dress before waltzing the night away. She stops by the local fabric shop and asks for plain black cloth and lace. The shop owner tries to convince her that pink will bring out her skin tone.
Chanel dryly and matter-of-factly responds, “Only black shows off the eyes.”
Indeed, the subsequent scene displays Chanel in her newly created LBD, spinning around a dance hall filled with woman in bland, predictable white dresses. The visual contrast is striking in its poignancy.
Many of the film’s moments emulate this visual beauty; scenes are like haute couture garments – shot as if sewn by hand, each focused pixel comparable to fine thread.
While the film ultimately culminates in a gorgeous visual montage of Chanel’s greatest creations, director Anne Fontaine stays true to the biopic genre and focuses more on the personal battles and tragedies of Chanel’s life rather than the actual fashions that made her famous.
And rightly so. She was a woman before she was anyone – or anything – else.
At times secluded, once in a while in love and often wrought with biting banter, “Coco Before Chanel” proves there’s much more to the icon than two C’s on a handbag.
mekitarivas@dailynebraskan.com
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