When a film doesn’t set out to be entertaining can it still be good? The short answer is yes. Each film falling into this classification has its own unique long answer though. Such is the case with the bleak, moody French biopic Coco avant Chanel, which translates to Coco Before Chanel. While the first and third words in the title are the ones that will catch your eye and draw you in, it’s that second word that is most important. Forget about glamour and celebrity, this film is less about fashion and more about a distasteful and unpleasant life endured before its subject hit the high life.
After living in an orphanage for her teenage years, Gabrielle “Coco” Chanel makes ends meet as a bar maiden and cabaret singer. Having gained seamstress skills at the orphanage, she designs sharp outfits for her singing partner and herself. Her clothing and good looks catch the eye of a wealthy patron, Étienne Balsan, who takes her as his mistress.
Elevated from the squalor of lower class living, Coco is showered with luxuries by Balsan but is essentially unable to live a life of her own. She is little more than a “kept” woman. Over the years, Coco uses her time to dabble in creative hat designs. Her creations catch the eye of several of Balsan’s elite guests and she begins taking a few orders. Meanwhile, she begins an affair with one of Balsan’s friends, Arthur Edward “Boy” Capel, who helps Coco open a shop of her own.
As I mentioned earlier, it’s the ‘avant’ or ‘Before’ in the title that is emphasized. Unlike American biopics, Coco focuses solely on the most unpleasant time period of the fashion icon’s life and that makes for a very uncomfortable viewing experience. Most of the film’s 110 minute runtime is devoted to Coco sneering, scowling, smoking and sassing her way through a loveless relationship with Balsan. Coco clearly isn’t happy with her situation but she also knows that it’s better than going back to cabaret singing. It’s an archaic arrangement that is unthinkable by modern standards.
The period details are immaculate and those who are familiar with Chanel’s history and style will probably be able to spot early influences that helped shape her fashion sense. Not being a fashionista myself, most of these details were probably lost on me. The cold, brooding nature of the film is very European. Had this been an American production, there would be more focus on influences and less time spent on the squirm-inducing details what amounts to a wretched but pampered existence under Balsan.
The film certainly delivers on all of the ‘before’ aspects of Chanel’s life but it ends in an unsatisfying way. Her lover dies in a car crash and then we fast forward to the end of one of her runway shows later in life. It’s not even a satisfying segue because there is no sign of determination in Coco to soldier on after Boy’s death. It just jumps right to an awkward happy-esque ending. Frankly, that tiny little glimpse of her success isn’t enough to make up for nearly two hours of bleak, depressing material.
If you’re big into fashion, this film might be for you. Just be prepared for European moodiness and a complete lack of satisfactory resolution. This isn’t the kind of biopic that leaves you in awe of its subject nor does it end with a wonderful crescendo. If you’re not big into fashion or foreign films, you may want to pass on this because you will probably just come away with it thinking Coco Chanel was a skanky peasant who got ridiculously lucky in life.
Coco avant Chanel does what it sets out to do. It gives you the ugly details of a ‘beautiful’ person and probably highlights some of her influences (if you know what you’re looking for). In this regard, Coco is a success, but this is not likely a film you’ll want to watch a second time.
When a film doesn’t set out to be entertaining can it still be good? The short answer is yes. Each film falling into this classification has its own unique long answer though. Such is the case with the bleak, moody French biopic Coco avant Chanel, which translates to Coco Before Chanel. While the first and third words in the title are the ones that will catch your eye and draw you in, it’s that second word that is most important. Forget about glamour and celebrity, this film is less about fashion and more about a distasteful and unpleasant life endured before its subject hit the high life.
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