Action in the film "Coco before Chanel" ends in December 1919 - it was then that the British entrepreneur Arthur Capel, nicknamed Boy, was killed in a car accident, a man whom Chanel, who in fact often changed testimony of this kind, invariably included in the list of men whom " really loved."
Actually, the film is dedicated to Coco's romance with Boy. Young Coco is played by Audrey Tautou, Boy is an American actor with the Italian name Alessandro Nivola. They are both very good-looking, and besides, when brought together on the screen, they form the correct chemical-cinematic combination, so that a slight heart spasm is guaranteed for the spectators here - after all, this is how it can be passionate, and bold, and tender, and beautiful.
And in general, this film could very well be even nothing - if it were not about Chanel. Because about her, or not at all interesting - recently, the Great Mademoiselle has managed to get bored with everything, so many films, books and exhibition projects have been dedicated to her - or, on the contrary, it is interesting specifically about her, and not about some statistically beautiful romantic story of the Belle Epoque period.
Briton Arthur "Boy" Capel Gabrielle "Coco" Chanel met through her first official lover, patron, playboy and horse breeder Etienne Balzan (who was only three years older than 25-year-old Gabrielle, but in the film for some reason is shown almost ancient old man). Fight played polo, and Balzan's horses were considered the best in France. By that time, Chanel had already managed to live in Paris (in the bachelor apartment of Balzan, who preferred to spend time in the provinces), open her first store there and go broke. With Boy's money, she managed to open a second store in one of the resort towns in Brittany - with it, her successful career began.
This does not mean that she used a wealthy Englishman. This means that she loved him, but accepted him as he is, and was not going to break her future because he is. (A property generally inherent in Chanel's relationships with men is that she always relied on them, but never depended on them.) And Arthur "Boy" Kapel was like this - he not only was never faithful to his French lover, but even got married in 1918 on an English aristocrat, and their relationship with Coco did not end there. They met for another year - until his sudden death.
The creators of "Coco do Chanel" probably felt that such difficulties could somehow muddy the beautiful picture of the Great Mademoiselle at the beginning of glorious deeds, so that there the lovers between kisses now and then swear to each other that they are about to "finally will be together ", and if Boy is absent from time to time, it is only so that the meetings are even sweeter after parting, and Koko could, in his absence, suddenly on a whim, decorate the dress with a white collar cut off from the man's shirt, then attach it to the woman's the figure of a sailor's vest - thereby showing the viewer the process of the birth of hits that do not leave the collection of the Chanel house to this day. (Incidentally, these hits include the tweed jackets and blazers that Chanel invented, inspired by Arthur Capel's British style.)
No, no one says, cinema, of course, should not duplicate reality, and why shouldn't some film be just a light fantasy on the theme of Coco Chanel's turbulent young years. But just in this case, the reality was much more interesting, subtle and even more cinematic than what is shown in this film. The real biographical details have been corrected in it for the sake of the general idea of what true love is. And yet Chanel, no matter how you treat her, has never been noticed in anything "general", and this applies not only to the demonstrative vesting in pants during the years of universal muslin.