ThiefHott Too much of everything

Evengyny Thanks for the memories!

VeteranLight I don't have all the words right now but this film is a work of art.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Crveni Krst I am not particularly acknowledged with either Coco Chanel's or Igor Stravinsky's lives and careers, and frankly, I never bothered to investigate them in detail. That is until I saw this excellent motion picture...What fascinated me from the first 'till the last frame was the whole way "Coco Chanel & Igor Stravinsky" was filmed. The frame is absolutely perfect, and it's not hard to realize that this movie was made by an educated professional who knows his camera well. Each scene, each cut and setting is right, and united together with an emotional story and very good acting this becomes film a lasting experience in the eye of the beholder. I honestly don't know whether the story is based on true facts or fiction, yet the script is written well enough to be truly convincing. Good job!Beside the technical brilliance, there's yet another thing which made me love this motion picture - The surrounding of the filming location was a jewel in a crown, maybe even the shiniest one. I particularly like the interior decoration of Art Deco, and "Coco Chanel & Igor Stravinsky" shows the finest example.In short - this film is a solid example of how movie making can still be treated as art, despite this modern cinematic world of one liners and CGI. 10 points well earned.

emuir-1 From the exquisite kaleidoscope at the beginning to the sets and costumes, this film is a feast for the eyes, especially with the recreation of the notorious opening of "Le Sacre de Pintemps". the affair probably did not happen, she said it did, he said it didn't, but Chanel needed to whiten her image after living with a Nazi officer in Paris throughout WW2.The film makes an interesting companion piece to a videotape I made in 1990 of a TV program of the search for Nijinksy's Rites of Spring. The ballet was recreated by the Joffrey Ballet from the music, photographs, set and costume design by Nicholas Roerich, annotated score of Marie Rambert one of the dancers, and the recollections of Mme. Rambert. The result is a insight into the influence of the Ballet Russe on the American Ballet Theater and later Broadway musicals. This program is now available on DVD and shows the two act ballet along with interviews of the people involved in the recreation.

richard-1787 This movie is often very beautiful to look at. Some of the camera-work is innovative, other times it references famous scenes in previous movies. If this were a silent picture, these things would stand out more and make for a more enjoyable experience.Because, sadly, the movie is a bore.It recounts the story of two not particularly attractive and certainly not pleasant individuals who have a lot of very uninteresting and apparently passionless sex that is quite clearly but not at all erotically filmed. There they are again, in bed, completely unclothed, going at it, and I found myself wondering if I should make popcorn. They are presented as they evidently were: two individuals intensely devoted to their work, work that took a lot of solitary creation. When they have sex, it is as if Stravinsky does it, quite methodically, in order to get rid of his urges - since he apparently can't have sex with his quietly suffering wife anymore, because of her illness - so that he can get back to his composing. That may be what the movie wanted to suggest. But that doesn't make for a very interesting movie. We never see much of any relationship between him and Chanel, just the sex.It took me three days to get through the whole thing. I just couldn't keep watching for but so long at a stretch, and only finished it so that I hadn't totally wasted my money on renting it."Coco before Chanel" shows that Chanel could be interesting. I'm willing to believe that Stravinsky could be interesting too. But I didn't get that from this movie. We see Chanel's involvement in the creation of Chanel No. 5, but there's no joy in it, so we don't get excited about it either.We get even less involved in Stravinsky's composition.It looks like a Masterpiece Theater where all the money went into the production values and nothing into the script. When you're dealing with two intellectual persons for an audience who, given the subject matter, is likely to be fairly intellectual themselves, this is not a good thing.

jdesando If you think Audrey Tautou's Coco in Coco before Chanel is a restrained performance, Anna Mouglalis' Coco in Coco Chanel and Igor Stravinsky will seem downright glacial. But not cold in a romantic sense, just careful and controlled as you might expect from the iconic head of a fashion house and perfume.Then again, Stravinsky, despite his iconoclastic Rite of Spring presented in its disturbing debut, is almost as glacial and controlling as Coco. Their love scenes are pretty as a picture, yet that's the point—they are a metaphor for the detached heroes playing at love. The film is inaccessible if you want to experience the subjects' passions in depth but satisfying if you wish to see the sacrifice these 20th-century monuments made in their personal lives for their creations.The real strength of this biopic is in the production design and cinematography, a triumph of black and white idolatry in a muted color envelope. The architectural rendering of Coco's obsession with black and white, right down to white doors with black borders, is unforgettable, making Igor's tight fitting clothes and equally stiff glasses counterpoint to the elegantly reserved Coco. The estate, autos, and concert scenes are so realistically wrought as to make you think you were there.The third act is a disappointment despite attempts to connect the heroes with their elder years. Well, maybe that's the point—cold is a cold does, tribal, pagan rites don't always end up well with cold monochromatic passion. However, the film manages to make it all seductive.It's not easy to enter this closed world of fashion and composition—Igor's wife Katarina (Elena Morozova) and her children are mere accessories in the tight drama between Coco and Igor. However, the principals are so carefully controlled that even we the film spectators are outsiders