Chanel Solitaire
(1981)
R | 120 mins | Melodrama, Romance | 16 October 1981
Director:
George KaczenderWriter:
Julian MoreProducer:
Larry G. SpanglerCinematographer:
Ricardo AronovichEditor:
Georges KlotzProduction Designer:
Jacques SaulnierProduction Company:
CC & C Associates
Although the film’s credits read: “Introducing Leila Frechet,” the actress had previously appeared in the 1977 French film A chacun son enfer.
An item in the 4 Sep 1980 HR announced that producer Larry G. Spangler bought the original screenplay Chanel Solitaire from first-time screenwriters Gillian Eaton and Judith Claire. DV production charts on 10 Oct 1980 and 19 Dec 1980, as well as the 14 Oct 1980 HR listed Benedict Fitzgerald as screenwriter, but neither Eaton, Claire nor Fitzgerald receive on screen credit. As noted in the 9 Oct 1981 DV review, Julian More ultimately received writing credit with Claude Delay who wrote the 1971 book upon which the film is based. An item in the 16 Sep 1980 DV noted that Delay, a “Chanel confidante,” had been hired as fashion coordinator and consultant on the film, although that is not reflected in on screen credits.
Jeanne Moreau was initially cast as “Emilienne d’Alencon” but, as announced in the 12 Nov 1980 HR, she “collapsed from pneumonia” just before filming. Although HR stated that the production would shoot other scenes and wait for Moreau’s recovery, items in the 18 Nov 1980 HR and 19 Nov 1980 Var announced that Karen Black was hired to replace Moreau. According to articles in the 10 Dec 1980 and 7 Jan 1981 DV, Brenda Vaccaro had also been cast in the film but could not participate due to a production delay on Zorro, the Gay Blade (1981, see entry). ...
Although the film’s credits read: “Introducing Leila Frechet,” the actress had previously appeared in the 1977 French film A chacun son enfer.
An item in the 4 Sep 1980 HR announced that producer Larry G. Spangler bought the original screenplay Chanel Solitaire from first-time screenwriters Gillian Eaton and Judith Claire. DV production charts on 10 Oct 1980 and 19 Dec 1980, as well as the 14 Oct 1980 HR listed Benedict Fitzgerald as screenwriter, but neither Eaton, Claire nor Fitzgerald receive on screen credit. As noted in the 9 Oct 1981 DV review, Julian More ultimately received writing credit with Claude Delay who wrote the 1971 book upon which the film is based. An item in the 16 Sep 1980 DV noted that Delay, a “Chanel confidante,” had been hired as fashion coordinator and consultant on the film, although that is not reflected in on screen credits.
Jeanne Moreau was initially cast as “Emilienne d’Alencon” but, as announced in the 12 Nov 1980 HR, she “collapsed from pneumonia” just before filming. Although HR stated that the production would shoot other scenes and wait for Moreau’s recovery, items in the 18 Nov 1980 HR and 19 Nov 1980 Var announced that Karen Black was hired to replace Moreau. According to articles in the 10 Dec 1980 and 7 Jan 1981 DV, Brenda Vaccaro had also been cast in the film but could not participate due to a production delay on Zorro, the Gay Blade (1981, see entry). A brief in the 16 Dec 1980 HR announced that Jeremy Child would replace Peter Cook in the film.
The 16 Sep 1980 DV reported that principal photography would begin 1 Oct 1980 in France. According to an article in the 30 Oct 1980 DV, French locations included Paris, Deauville, Compiegne, and a studio in Boulogne-Billancourt. A 14 Jan 1981 HR news item stated that filming was recently completed.
The film was budgeted at $7 million according to various contemporary sources, including the 12 Nov 1980 HR, and the 21 Sep 1981 Film Journal noted that approximately $1 million was allocated to costumes. An item in the 8 Oct 1980 Var stated that Egon Von Furstenberg would design the men’s clothes and the House of Chanel would provide the costumes for actress Marie-France Pisier as “Coco Chanel.” A 24 Nov 1980 Time article reported that Pisier, the cast and almost 600 extras wore 1,500 costumes recreated from Chanel’s drawings.
The 3 Aug 1981 DV announced that United Film Distribution would release the film in fourteen markets on Oct 1981, with a world premiere scheduled for 6 Oct 1981 at the Gemini Theatre in New York City. According to the 21 Sep 1981 Film Journal, Chanel Solitaire was scheduled to open in Toronto and Montreal, Canada, on 9 Oct 1981, followed by openings in New York City, Los Angeles, CA, and Philadelphia, PA, on 16 Oct 1981.
The 15 May 1981 DV reported that Chanel, Inc. filed lawsuits in Paris and New York City to block the release of Chanel Solitaire, claiming “trademark infringement” among the various allegations. As noted in the 27 May 1981 HR, the 7 Jun 1981 LAHExam, and the 9 Jun 1981 HR, the Paris judge dismissed all claims, calling the lawsuit “frivolous.”
End credits include the following written statements: “One sequence from this film has been shot in Senlis” and “We wish to thank the Mayors of Deauville and Compiegne for their kind cooperation.”
As models walk down the staircase during her fashion show, Gabrielle “Coco” Chanel reminisces about her life. During her childhood in rural France, Coco’s mother dies and her father places the girl and her sick younger sister, Julia, in a Catholic orphanage, promising to come back for them. He never returns and Julia dies. Years later, Coco’s middle-aged Aunt Louise discovers Coco’s whereabouts and brings the teenager to live with her and a younger aunt, Adrienne. As Coco works beside Adrienne at a tailor’s shop, she surreptitiously fashions a hat which she wears to a local wedding. At the reception, two soldiers notice Coco and Adrienne; Etienne de Balsan is intrigued by Coco while his friend, Robert, dances with Adrienne. Coco enters a singing competition and Etienne is an enthusiastic supporter, even though she cannot sing. Aunt Louise berates Coco for entering the contest, but Coco insists she will do anything to escape the small town. Etienne informs Coco that he is leaving the cavalry to breed horses at his new estate in Compiegne and asks Coco to move there to assist him. Adrienne is upset, but Coco insists Etienne is a perfect gentleman and presents her aunt with the designer hat, claiming it will help attract Robert. One day, while Coco is riding horses, courtesan Emilienne d’Alencon arrives to visit Etienne. Coco returns to find a party underway, with Adrienne and Robert also in attendance. Etienne introduces Coco to his mistress, Emilienne, who is intrigued that Coco, a tomboy, designed Adrienne’s elegant hat. Emilienne asks Coco to design a hat for her, insists on paying ...
As models walk down the staircase during her fashion show, Gabrielle “Coco” Chanel reminisces about her life. During her childhood in rural France, Coco’s mother dies and her father places the girl and her sick younger sister, Julia, in a Catholic orphanage, promising to come back for them. He never returns and Julia dies. Years later, Coco’s middle-aged Aunt Louise discovers Coco’s whereabouts and brings the teenager to live with her and a younger aunt, Adrienne. As Coco works beside Adrienne at a tailor’s shop, she surreptitiously fashions a hat which she wears to a local wedding. At the reception, two soldiers notice Coco and Adrienne; Etienne de Balsan is intrigued by Coco while his friend, Robert, dances with Adrienne. Coco enters a singing competition and Etienne is an enthusiastic supporter, even though she cannot sing. Aunt Louise berates Coco for entering the contest, but Coco insists she will do anything to escape the small town. Etienne informs Coco that he is leaving the cavalry to breed horses at his new estate in Compiegne and asks Coco to move there to assist him. Adrienne is upset, but Coco insists Etienne is a perfect gentleman and presents her aunt with the designer hat, claiming it will help attract Robert. One day, while Coco is riding horses, courtesan Emilienne d’Alencon arrives to visit Etienne. Coco returns to find a party underway, with Adrienne and Robert also in attendance. Etienne introduces Coco to his mistress, Emilienne, who is intrigued that Coco, a tomboy, designed Adrienne’s elegant hat. Emilienne asks Coco to design a hat for her, insists on paying for it, and plans to wear it in Paris. One morning, Coco is embarrassed when she walks in on Emilienne and Etienne making love. Later, after Etienne and Coco ride horses, she asks him to make love to her in the stables, but she finds her first sexual experience unfulfilling. When Etienne’s English friend, businessman Arthur “Boy” Capel, arrives for a visit, he mistakes Coco for a stable boy. At dinner, everyone wears costumes created by Coco. Emilienne, who has been wearing Coco’s hats in Paris, praises the designer and insists that Etienne should lend Coco his Parisian apartment and subsidize her first hat salon. Etienne is hesitant, but when Boy offers to finance Coco instead, Etienne agrees to support her. Soon, Coco’s business, with Adrienne at her side, is ensconced in Etienne’s Parisian apartment. Boy attends Coco’s debut fashion show and invites Coco to a lunch date, although Emilienne warns her that he has many mistresses. Days later, Boy and Coco arrive at the restaurant as Emilienne and her date, Lord Langdon, leave. As they exchange greetings, the Lord insults Boy, accusing him of being a social climber, and Boy punches the man. Boy regrets his rash act, but Coco admires his temperament. Boy reveals that he was an illegitimate child who had to build his own wealth, and therefore he dislikes the idle rich. At Boy’s home, Coco experiences a fulfilling sexual encounter, cries, and admits that she loves him. As Coco’s business becomes more successful, Adrienne wants to move to a larger place. She suggests that Boy can help, but Coco, having paid off her debt to Etienne, is determined to be independent. Later, Boy shows her a larger place that he rented for her new salon. She is not happy that he did not consult her, but Boy claims he had to move fast to get the space. Boy meets with a French politician to discuss the possibility of war with Germany, which currently supplies the region’s coal, and Boy offers to back the man’s next campaign if he awards the coal concession to Boy’s company. Later, Boy storms into Chanel’s shop, angry that she is spending so much money on renovations. They argue as she insists it is her business to run. When she learns that Boy guaranteed her bank loan, she promises to repay him. He leaves but sends flowers to apologize for their argument. Later, Etienne surprises Coco upon his return from a long stay in Argentina. Having purchased additional land in Compiegne, he plans to delve into the aviation business and wants her to return with him as lady of the manor. Coco refuses his offer, claiming they have moved beyond the possibility of being lovers. Boy arrives at the shop, sees Etienne and declares that he is backing Coco and that they love each other. Jealous of their relationship, Etienne cries and Boy consoles him with an embrace. Later, in Boy’s bedroom, Coco tries on his sweater, likes the loose fit and plays with the design. She joins him in the study as he reads headlines of the impending war. He suggests that she open another shop in Deauville, by the sea, where it might be safer. In her Parisian shop, Coco shows Adrienne her ideas for branching out into jersey dresses. Boy joins them with news of the assassination of the Archduke of Austria and the threat of war; he agrees with Coco that the jersey dresses will be practical and warm during the hard times. Boy is certain he will make a great deal of money during the war, but Adrienne insists profiteering is dirty business and worries that her fiancé, Robert, will be killed in battle before they can marry. Boy’s work during the war keeps him away from Coco, who now operates out of her shop in Deauville. After the war, Coco’s success enables her to pay her debt to Boy and she is excited about their reunion. Instead of a celebration, however, Boy informs Coco that he is marrying someone he met during the war. He claims to love his fiancée, but admits that she is the daughter of a lord who will assist his political aspirations. Coco orders Boy to leave, then cuts her hair short. Much later, Coco shows a female lover, Mischa, her new perfume named Chanel No. 5, because it took five attempts to develop. They are interrupted by the arrival of Boy, who claims that he loves Coco and is en route to divorce his wife. Coco is scared to resume their relationship since it took so long to recover from his betrayal, but he holds her close and they kiss. Later, as Coco awaits his return, Boy’s car veers off the road. Coco learns that Boy died in the crash and rushes to the accident site, heartbroken. Later, at her fashion show, Coco cries as she finishes reminiscing. The show concludes to enthusiastic applause as Coco walks upstairs alone.
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