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Yves Saint Laurent was both saint and a little
devil, according to this biopic by co-writer/director Bertrand Bonello (written
with Thomas Bidegain). In his
early life, he seemed to be rather sweet and had a loving, playful relationship
with his mother. He began
designing clothes for dolls at a young age, and clearly showed a taste for art
and the finer things in life. In
young adulthood, his mother observed to him what a charmed life he had; yet he
didn’t seem to value it. All those
qualities perhaps made him vulnerable to enticements that would eventually be
his undoing. However, he was hospitalized for emotional
difficulties during brief military service, and given large quantities of
medicine and electroshock therapy.
He seemed to think that was the root of his later problems with alcohol
and drugs.
Saint Laurent was imminently successful in
designing clothes for women, and advanced the profession in offering tuxedos
for women and ready-to-wear apparel.
He revered Dior, who became his mentor, and eventually named him as his
successor at the House of Dior, which he ascended to at age 21 because of
Dior’s early death. With his
astute business partner and lover, Pierre Bergé (Remier), Yves eventually saved
that business from financial ruin.
Yves went on to become one of the most famous fashion designers in the
world, and the YSL brand (perfume and household items as well as Haute Couture)
that he and Pierre created is still very popular today.
The film is a no-holds-barred look at Saint
Laurent’s life—his passion for the art of design; his loves, flirtations, and
friendships; his generosity and graciousness; and his sorrows and personality
quirks. Most of it is fascinating,
yet it is overly long (2½ hours), and at times lacks focus. Scenes are included that seem to have
no explanation, such as one in which a naked woman and one who is clothed are
in the street and a man seems to be filming them and their conversation, but we
don’t know who the women are or who is filming them. Director Bonello should
have maintained better focus and cut enough scenes to shorten the film by ½
hour to 45 minutes.
Cinematographer Josee Deshaies was nominated
for a Cesar for this film, but I found his work to be frustrating; designer
clothes whip by so fast one can’t really see them, and there are many scenes
that begin with showing only the feet and legs of characters; other times the
camera switches among scenes of models’ heads, their lower body parts, and what
they’re wearing. I’ve actually
noticed these techniques in several films recently—along with the use of split
scenes with up to 10 or 12 images—and wonder why they’re so popular. Perhaps it’s a fad that will hopefully
go away before long.
A strong point is the acting of Gaspard Ulliel
(Saint Laurent during his designer years), who captures so artfully the many
moods and adventures of the designer, and that of Lea Leydoux, who plays a
constant female companion and emotional support during the same period.
Another strong point is showing how Yve’s
business manager, Pierre Bergé played such a crucial role in managing the
designer’s affairs, even after he felt betrayed. The film takes a very neutral position between the two men
around the affair. It could be that
Bergé saved Saint Laurent, or was actually the cause of inconsolable grief that
was damaging.
The life of a successful designer—ooo
la la.
Grade: C+ By Donna R. Copeland
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