★★★★☆
Following the success of the biographical film Coco Avant Chanel in 2009, directed by Anne Fontaine and starring Audrey Tatou, a new French biographical film has been released: Yves Saint Laurent. Both films follow the classic biopic structure; a rather eccentric and undiscovered person finds their way to fame and high society, finding love along the way, encounters tragedy, and undergoes a ‘life changing’ epiphany, for better or worse.
However, this does well to capture an audience and make a moving and/or an exciting film. This said, Coco Avant Chanel was deemed dull by many, because it was too reserved, tasteful and refused to adhere to melodrama. However, critics agreed that it was extremely moving. Yves Saint Laurent is arguably more exciting and just as moving, yet, it has slightly less beaming reviews, which I personally disagree with.
Yves Saint Laurent is a captivating watch. Based on Laurence Benaim‘s biography, it traces the hectic, passionate and poignant life of Christian Dior’s assistant, Yves, until his death in 2008. At no point does it bore its audience. Foremost, the theme of Yves’ (Pierre Niney) clandestine homosexual relationship with his colleague and friend Pierre Berge (Guillaume Gallienne) is absorbing, all the more for being so complex and discerning. Yves and his lover Pierre have a tumultuous relationship, replete with passion, resentment, hate and other liaisons; one of them with the same woman. Pierre is a very touching character, who tries to help Yves with his overwhelming depression and descent into debauchery, and protect him from the dangerously excessive lifestyle his fame and wealth surrounds him with. He is constantly subject to Yves’ heart-wrenching abuse, abandonment and self-destruction, yet, he is a constant friend till the very end.
Yves’ transformation from a quiet, polite and humble young man into an abusive, wild, arrogant alcoholic is sudden and shocking. His change in personality is reflected in his change in surroundings; he spends weeks in a hazy delirium of pleasure in Morocco. The film portrays the vibrant, indulgent stupor of his new crowd, and the colourful seduction of the country. The sharp and rich cinematography renders this seduction all the more enthralling.
The theme of fashion in the film is secondary to the journey Yves undertakes as a character, yet the world of catwalks and beautiful models does not go amiss, and adds an entertaining aspect to the film, all the while adhering to realism and Yves Saint Laurent’s designs.
Pierre Niney acts extremely well, and is known to have practised the unique tone of voice he uses to capture Yves’ character for months before he perfected it. He even wears Yves Saint Laurent’s own glasses and wears a nose implant to fit the role. Extraordinarily, the late designer’s surviving dog reportedly thought he had been reunited with his lost master when on set. Guillaume Gallienne is equally convincing, and couldn’t be further from his very recent farcical role in the comedy ‘Guillaume et les garcons, à table’ which came out a month ago.
Overall, Jailil Lespert’s film is excellent, and I thoroughly urge you to see it.
