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At six years
after
the death of Yves Saint Laurent, cinema came back
to pay homage to one of the most revolutionary icons of fashion.
Jailil Lespert ,
director of the film, is co-author of the screenplay in six hands
along with Marie-Pierre Huster and Jacques Fieschi and brand of a
pearl inspired by the homonymous book by Laurence Benaim.
The biographical way breathes of
everyday: worldly popularity is the scenario, but the fabric is Yves
protagonist in his private life. It is no coincidence that the film
is indicated by Pierre Bergé as the most suitable to revive Yves as
the man in his fragile and tormented, creative and obsessive essence.
The film starts from the death of
Christian Dior ,
when Yves was only 21 years old and he was given the famous parade
for the Maison
where he would meet Pierre Bergé .
The success led him to putting high levels, however, deeply under
pressure.
These were the years of the war
in Algeria, the home of the director and the designer: Saint Laurent
was fired after his hospitalization for a mental syndrome as a result
of the call to arms.
The film focuses on the
twenty-year period from 1956 to 1976: it is the climbing of Yves
(played by Pierre Niney) on the top of fashion in the fight against
the reputation and the manic-depressive syndrome that accompanies his
frustrating search.
Delight of fashion, Saint Laurent
hits the tradition, revolutionizing, drinking from the art
sea, redesigns Mondrian, Picasso, Braque, Matisse, Andy Warhol,
covers the bodies of pure art and sews the way for innovation.
Neurosis guide his pencil that
draws the history of fashion on the sheets of paper: those nervous
hands and gestures that are unique brushes for the painting of the
woman's face by the time you anticipate the future dictating the
style.
The narrator is the partner ever
in life and in art: Pierre Bergé (played by Guillaume Gallienne) is
the co-founder of the famous Yves Saint Laurent Company (YSL). He is
also entrusted with the effective participation in the script to
investigate the complex personality of the artist in actuality trying
to avoid the gossip and background of contemporary newspapers.
“Nonostante
i demoni e le insicurezze che hanno tormentato il geniale designer,
fu proprio grazie al sostegno di Bergé che Yves riuscì nell’impresa
di trasformare il mondo della moda dell’epoca, costruendo attorno a
sé un mito
che
è rimasto a tutt’oggi intatto” .
Bergé is the weapon and the care
of Saint Laurent, the anchor and the engine of his life: the
puppeteer and private supporter of the genius art, with a keen
business acumen, will support and pillar to which cling to the artist
in his neurotic vortex.
The director acts as voyeur
respect to the events: it has a look of admiration and detachment,
careful not to violate the freedom of the characters, their
features, their path in history. It is a silent witness that holds
the personal involvement for a man who has a personality larger than
the myth he has built.
The force of his life just to put
the cards in his game, while meditating with sharp eyes, but already
absent from this reality, deep behind lenses, mirrors impalpable to
an unattainable cognitive world.
Creativity moves away from the
socio-political questions of the Algerian war, to which the
people demand precise answers, and turns over the abyss of genius emotional gesture that goes beyond the story of the time and runs
faster.
The involvement of the body is an
instrument of knowledge, the touch tormented for that woman-dummy,
which embodies the object of desire on which to model the fabric
style.
The contact becomes the
exploration and fusion of the mind's dreams and the reality that will
wear art. So the model Victoire (Charlotte Le Bon) becomes the women
world's taste to mold, and liaison
to divertissement
between Saint Laurent and Bergé.
The happiness of the artist is
married with two moments of the collections launch: spring and
autumn, concreteness seasons of those creations hatched during the
months of excess. The life merges with the art.
In a biopic, the capacity of
actors is crucial: it is valuable to the interpretation of Pierre
Niney, the new face of the Comédie
Française, able to
reincarnate the complex and neurotic gestures that distinguish Saint
Laurent.
Do not miss Laura Smet in the
role of Loulou de la Falaise, the famous Yves muse that he wanted as
his right arm.
“Una
pellicola in cui viene rievocato il vasto universo di Saint Laurent,
spaziando anche al di fuori del mondo patinato delle passerelle, per
andare a raccontare la vera vita dietro all’uomo che rivoluzionò
il concetto di moda”.
NOTES
WEB LIST
C.Bardelli,
R. Serini, Pierre
Beré e Guillaume Gallienne, “vanityfair.it”,
2014
http://www.vanityfair.it/show/cinema/14/03/28/yves-saint-laurent-pierre-berge-guillaume-gallienne-intervista
In
Sicilia il primo queer fest , “Corriere
del Mezzogiorno”, 21/04/2011,
A.Toscano,
Asta record per il
tesoro di YSL. Per una poltrona 20 milioni,
“Il Giornale”, 27/02/2009,
YSL-Bergé
: les bronzes réclamés par Pékin vendus 28 millions d'euros,
“Le Figaro.fr” 25/02/2009
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