The astringent new romance film Coco Chanel & Igor Stravinsky might be the arthouse equivalent of that often-proposed high concept blockbuster Superman & Batman. Instead of â€?Who would win in a fight: Batman or Superman?â€? Dutch director Jan Kounen delivers: â€?Who would win in an affair: Stravinsky or Chanel?â€?Read the whole thing there and comment upon it here.
In the 1913 prelude, the ambitious young dress shop owner attends the most celebrated classical music event of the last century, the Ballets Russesâ€™s Paris premiere of The Rite of Spring. To her bemusement, a riot breaks out between the avant-garde claque who had received free tickets from the wily impresario Sergio Diaghilev and the paying customers, who are outraged by Vaslav Nijinskyâ€™s angular choreography and Stravinskyâ€™s polyrhythmically pounding score.
Ever since, â€?Le Sacre du Printempsâ€? has been portrayed as inaugurating a new golden age of music. Yet, looking back from the 21st Century, The Rite seems more like the grand finale to two centuries of musical glory, the greatest run any civilization has enjoyed in any artistic field.
In 1920, the White Russian composer is back in Paris, down at the heels after the Bolsheviks stole his homeland. At a party with Diaghilev and a man named Dmitri, he meets Chanel. She offers to put him, his tubercular wife, and their four children up at her gorgeous Art Nouveau villa in the suburbs.
At first, he refuses due to the impropriety. Although The Riteâ€™s debut was the most famous triumph of the bohemian motto â€?epater le bourgeois,â€? Stravinsky was himself a starchy bourgeois, a modernist man of the right like T.S. Eliot, whose 1922 poem The Waste Land was likely influenced by The Rite.