Reviews

Coco Before Chanel (Coco avant Chanel)

Coco Before Chanel cannot get out from under the romantic fabrications and excesses that ostensibly annoyed its subject.


Coco Before Chanel (Coco avant Chanel)

Director: Anne Fontaine
Cast: Audrey Tautou, Benoit Poelvoorde, Alessandro Nivola, Marie Gillain, Emmanuelle Devos
Rated: PG-13
Studio: Sony Pictures Classics
Year: 2009
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Trailer

The premise of Coco Before Chanel is somewhat fanciful. Ostensibly telling the story of Chanel before she became legendary, it allows her to seem vulnerable, sweet, and young, if not conventionally feminine. It even grants her an effectively humble start, specifically in 1893, when 10-year-old Gabrielle and her sister Adrienne are delivered to an orphanage by their dour, mustachioed father. From Gabrielle's view of trees and sky from the cart he's driving, the shot cuts back to her next interest, the nuns' crisp outfits. Still another cut to her wide eyes reveals they are less frightened than resilient, if not calculating. In this moment, the movie only enhances the usual mythologizing of its subject's self-creation. "I waited for my father every Sunday," she says in voiceover. "He never came back." Even before she was Coco, she was Chanel.

The process of her self-invention is somewhat abbreviated and contrived in the film, adapted by director Anne Fontaine and her sister Camille from Edmonde Charles-Roux's book, L'Irrégulière: ou, Mon itinéraire Chanel. When the post-orphanage Coco as (played by Audrey Tatou) appears in1908, she is emphatically chimerical, both perky and poised. She and Adrienne (Marie Gillain) are singing in a Moulins saloon when spotted by the millionaire Étienne Balsan (Benoît Poelvoorde). His flirtations seem hardly to impress Coco -- who takes her nickname from a tune she performs -- though she does plainly appreciate his money (he owns racehorses, among other things). Cynical if self-consciously charming ("The only interesting thing about love," she pronounces, "Is making love, and too bad you need a guy to do it"), Coco is soon out of work when her sister marries. And so she delivers herself to Étienne's country estate, figuring that he might as well support her while she figures out what to do next.

Étienne agrees to let her stay a couple of days, and when these are over, he arranges for her transportation whence she came. Coco, however, comes to a different decision, demonstrated in a scene where she dismisses the waiting car and marches back inside the house. Here the film indulges in one of its many collapses of her resourcefulness and artistry, showing her cut up and refit one of Étienne's shirts in order to design a riding outfit. Transformed into a stylishly boyish figure, she rides a horse out to the field where Étienne is reclining with his guests, providing unexpected entertainment. While she exhibits here intelligence and ingenuity, she is also doing what she does best, putting on a show in order to survive.

Here she also meets and enchants the actress Emilienne (Emmanuelle Devos), vibrant and confident and in search of a new look. Eventually, she anoints Coco her new costume designer, thus exposing her creations to an ever-widening audience of theatergoers. As the women laugh and bond despite and because of their class differences, the film underscores the paradox of Coco, who repeatedly seems to be "liberating" herself (and other women, by extension) from corsets and hats with too many feathers and other fusty fashions, even as she dresses up women for men.

Coco's story takes a turn toward tragedy (à la La Vie en Rose, the 2007 Edith Piaf biopic) when she meets another of Étienne's playmates, Arthur "Boy" Capel (Alessandro Nivola), an English industrialist and polo player. When he "borrows" Coco from Étienne for a weekend away at Deauville ("It's the first time I've seen the sea!"), she is inspired by the fishermen's striped sweaters to design still more boyish wear for women (the film also includes here a scene where she more or less comes up with the idea of the "little black dress," imprecise historically, and too cute plot-wise). Their romance is odd and imbalanced and apparently very meaningful, for when she loses Boy, Coco is devastated and duly moved to become Chanel Big Time.

This transition is indicated in an anachronistic -- and bizarre and lovely -- scene where Chanel watches a collection of her signature dresses head out for a show. The women who pass her while she watches from a not-quite-backstage stairway are increasingly faceless as the camera closes on her own rather perfect, still perky, now also poignant visage. The composition's sharp angles and elegant lines all speak to the iconic Chanel (the film makes no mention of her notorious anti-Semitism or Nazi collaboration).

She looks so sad and alone here, even if, you might guess, she is also feeling proud and fierce and professional. She understood business as much as art, though the film seems unwilling to see this. The scene underscores the costs of her success, in a story turn that feels clichéd, no matter how true or untrue it may be. In this moment, Coco Before Chanel cannot get out from under the romantic fabrications and excesses that ostensibly annoyed its subject.

4

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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