Yves Saint Laurent: His Life and Times / 5 Avenue Marceau 75116 Paris
Документальный фильм (Франция, 2002).
Оригинальное название: Yves Saint Laurent: His Life and Times / 5 Avenue Marceau 75116 Paris
Режиссер: Давид Тебуль
Без перевода, с субтитрами на английском языке
Первый фильм "Yves Saint Laurent: His Life and Times" - это биография модельера, рассказанная его родными, коллегами и близкими друзьями. В начале истории показываются факты из детства, родительский дом в Алжире, фотографии семьи и школьных лет. Сам кутюрье наблюдает картины из своего далекого прошлого с улыбкой на устах и комментирует журналисту: “Смотрите, как я тогда был счастлив. Каким я был молодым...”
После просмотра истории об успешном и единственном в своем роде восхождении романтического бунтаря на олимп мировой моды журналист, не скрывая восхищения, спрашивает героя фильма, почему он несчастлив, несмотря на все предпосылки быть счастливым и все обстоятельства, сложившиеся в пользу карьеры всемирно известного кутюрье. Ив Сен-Лоран говорит, что только он сам мог бы с лихвой оценить собственное творчество и похвалить себя, но для этого его двойник, второй человек, живущий в нем, всегда строг, требователен и, к сожалению, никогда не бывает довольным.
Вторая картина "Yves Saint Laurent: 5 Avenue Marceau 75116 Paris" расскажет о легендарной модной империи Yves Saint Laurent, о том, как дизайнер работал над своей последней коллекцией женской одежды в 2001 году, и о гении его творчества. Зрители смогут увидеть, как эскизы, созданные Сен-Лораном, превращаются в готовые, поражающие воображение наряды .
"That's where I was happiest, among my family,'' says the couturier Yves Saint Laurent early in "YSL: His Life and Times," one of two documentaries on the designer directed by David Teboul. Though each film has its deficiencies, as bookends, they complement each other. There's also some wonderful film included that will be new to American audiences, like a popping black-and-white animated 1960's piece and some other period ads, and the designer's fixation on, and appropriation of, androgyny in fashion, which influenced the 70's glam sensibility. Mr. Saint Laurent's solemn, thoughtful reflections have a graceful melancholy. As pictures of a happy, rounded-faced infant are shown in contrast to the long, severe face with the slender glasses that many think of when Mr. Saint Laurent's name comes up, he remembers that he was so loved that his father's last words were "Where's Yves?" As he reflects on his boyhood, "Times" reminds us of the work of a Saint Laurent idol, Marcel Proust. This documentary blows through many of the major moments of its subject's life, and is a truncated, intriguing but somewhat standard-issue history, charting his precocity and startling rise, with the speed bumps along the way that shook up his trip. Except for the access that Mr. Teboul got to Mr. Saint Laurent's inner circle, "Times" wouldn't be out of place on A&E. Despite some fascinating anecdotes from his partner Pierre Berge and his muses Loulou de la Falaise and Betty Catroux, "Times" doesn't thicken the stew, not touching on, for example, the fact that both Mr. Saint Laurent and Proust were connected to the Radziwill family. Lee Radziwill was one of YSL's first supporters, after he was dropped from running Dior, and one of Proust's closest friends married into the Radziwill family. It's the companion documentary, "YSL: 5 Avenue Marceau, 75116 Paris," from the 2001 book of the same name, that is far more interesting, because it focuses exclusively on process. "Paris" details the construction of the artisan's last women's collection in 2001, and Mr. Saint Laurent is nearly a special guest star, occasionally stepping in to observe the meticulous work of the dressmakers fitting the models. There's a hint of unspoken terror as the ensembles are assembled, with the attendant tinkering and second guessing. Both "Times" and "Paris" have an additional soupcon of piquancy, capturing the end of the subject's creative life and coming only a few months after Tom Ford retired from Gucci, which included a rehabilitation of the YSL line. - Elvis Mitchell, The New York Times