robert-259-28954 The single word that kept entering my mind when watching this little masterpiece of understatement, was, "Fine." In all my life, I have NEVER called a film, 'Fine.' But it seems that no other term so exemplified this superb gem of cinema. Naturally, it was Audrey Tautou's movie, but the entire cast was equally up to the task, a simple story so elegantly told that it surprised me with it's subtle but elegant power. It seems that every movie I see Tautou in, her face and magnetic presence is completely irresistible, and this is certainly no exception, moving from scene to scene with magnificence and grace, much like Chanel herself. American films are like drinking Coca-Cola, bubbly and refreshing, but gone in an instant. This movie was like watching fine wine grow from the dirt, then blossom on the vine, and ultimately become a thing of pure pleasure and beauty, something to be slowly savored and not rushed. That is the lasting impression this film made on me. "FINE," is indeed, the word.

Engine_Ear There's not a lot of action or dramatic tension in this movie, but there is a story to tell, though subtle, and it is intelligent and utterly convincing of time and place. It is very good.The direction, the cinematography, the score, the acting are all excellent. But the star of the movie is Audrey Tatou, as a woman born with a sense of self and style, almost against her will, who uses those traits to climb through fin-de-siecle French society to, ultimately, become an icon of what most would consider the beginning of modern times. She shifts effortlessly from the angry, self-absorbed youth with an attitude, to a mature women liberated by her lover, through heartbreak to triumph. As another reviewer has noted, the last 15 minutes or so are a master class in emotional range. Never a false note. She's so good that it's easy to forget that she's acting. In the final scene, the cinematography, the score, and Ms. Tatou combine into an unforgettable moment. She is convincing and compelling.

victoriasimon86 Besides being intrigued by the humble beginnings of fashion icon Coco Chanel, Audrey Tatou is this movie. We are used to seeing her as the bubbly shy introvert in Amelie but there is more to her, so much more. We also see that in her film, A Very Long Engagement. Her facial expressions are so great that she would have also been awesome for the film the Artist. Women watching this film can totally relate to her character no matter how famous the person she portrays is. She is fearless as a young Coco and does not even blink at the notion of anyone disagreeing with her at all. I like this film for what it does in a feminist light. At a time when women were never taken seriously, she just shows up and gets her agenda on. It never proves easy but it gets done. She knows that men are key to her business pursuits and she knows how to get what she wants. She is too savvy of her world and her surroundings and too hardened by life's misfortunes for the love that unexpectedly finds her. She would have rather lived without the added trouble of falling in love, a roadblock to her practical no nonsense lifestyle. This film shows austere and plain on the face and attire of an otherwise chic and glamorous actress. The shame is that critics knock the movie because of her shocking change. I feel like saying she is gorgeous no matter what and as I take a Coco stance, I say, "Who needs them?"

lasttimeisaw To be frank, this biographic film about legendary Gabrielle Chanel is disappointedly plain and perfunctory although it has a Chanelesque panache in its appearance and hardware. For me the dialogue is poorly written, full of clichés which could be easily eavesdropped during any cheap romantic chick flick. As it is a film about Chanel (especially as the title itself suggests that it's a film about her life before global success), the importance is to underline the uniqueness inside her which would bring her the later prestige fame, unfortunately the payoff of the film is her two bog- standard relationship both as a mistress, which eludes the most intriguing question, how could she manage to infuse her offbeat talent into the fashion business at her time? The film skimps a larger portion of it (which we could only witness from her intermittent scenes with Emilienne, an underperformed Emmanuelle Devos).Audrey Tautou did a great job to showcase Coco's pride and fragile in the same shot, as for two supporting lovers, Alessandro Nivola is handsome enough, but with a rather wooden performance, the chemistry between the lovebirds is far from convincing, which directly hampers the whole keynote of the film and demotes Coco's personal mien as well. On the contrary the ordinary-looking Benoit Poelvoorde deserves more recognition for his rough but more empathized interpretation as the rich womanizer, Baron Balsan. The fancy costumes of the film are worth appraising and it doesn't matter if you are in fashion business or not. But we are not watching a documentary or a fashion show, it is beyond its power to save the film itself from being a mediocre one.