Pretty to look at, little to see

Women might want to tighten the reins of their significant others after watching Jan Kounen's (8) newest film, Coco Chanel & Igor Stravinsky.

Set in France at the beginning of the 20th century, the film starts with fashion mogul Gabrielle "Coco" Chanel (Anna Mouglalis, I Always Wanted to Be a Gangster) attending the first performance of "The Rite of Spring" by composer Igor Stravinsky (Mads Mikkelsen, Moomins and the Comet Chase). The ensuing music and dancing spurs a riot among most of the attendants but Chanel is intrigued. She offers to support Stravinsky's art by letting him and his family move in with her in her château. Stravinksy, his ill wife and his countless children move in immediately.

Stravinsky's wife, Katarina (Yelena Morozova, Hysterical Psycho) feels her marriage deteriorating faster than her ailing body. Yet she still searches for common ground with her husband. She finds that they can still connect over his music, which gives her hope. She is quite wary of Chanel and her influences on her husband and his compositions. 

Chanel and Stravinsky find physical comfort in each other, which impacts the composer's work. This does not go unnoticed by Madame Stravinsky.

Mikkelsen's Stravinsky is a somber one. He rarely glances up while on his piano and seems to have trouble conjuring affection, even while playing a friendly game of checkers with his son. One would almost assume his mind is consumed with thoughts of his affiare de coeur, but alas, he must be carved out of stone, because his face reveals no such thing.

Mouglalis, however, is a stone-cold fox. Her portrayal of the fashion icon makes it hard for viewers to look at anyone else in any given scene. She is so aloof, yet is able to express so many of her thoughts through her features, making for a dynamic performance. A compliment, once attributed to the late, real-life Chanel, can most definitely be given to Mouglalis: "She makes even grief seem chic."

The conflicting acting makes the entire affair seem highly improbable. Between the strange looks Stravinsky gives to his mistress and the lack of passion he sends her way, viewers are sure to cringe when he tries his hand at seduction.

Spectators will breathe a sigh of relief when a chain of events causes the awkward affair to be short lived: Katarina leaves Igor and takes her children with her; Igor has a spat with Chanel and declares that he is a real artist while she is merely a shopkeeper, gravely insulting her; Chanel finds a letter written to her from Katarina, begging her to leave Igor alone so that her kids may have their father back with them. 

Morozova embodies her role beautifully. Physically, she is constantly slouching and bending over to cough, portraying quite literally how the towering, breathtaking Chanel looks down upon her.

Despite Chanel's independence and fame, Morozova shows that good can prevail. She does not let the weak Katarina admit defeat — she depicts her as a strong woman who is able to take charge of her own future. In the end, she is the clear victor.  

Based on Chris Greenhalgh's novel Coco & Igor, the film's plot carries great potential. The dialogue became nearly null as the minutes ticked and was quickly replaced with illicit interactions that excluded any sort of introductions or explanations. It was more of a reel of Igor and Chanel's most intimate moments rather than a traditional motion picture. 

While the story gets dull, other aspects of the film never failed to impress. The costumes are beautifully constructed.

Scoring the film, Stravinsky's compositions truly bring Paris to life. The music is a great complement to the just slightly over-the-top attire.

Though the plot declined, the film was still visually appealing. The setting, the costumes and the music steal the show from the action. However, perhaps it is not the best decision to invest nearly two hours in a movie that will result only in wardrobe envy and an appreciation for old buildings.

RATING: 2.5 stars out of 5

diversions@umdbk.com