Warning to all Luchino Visconti movies lovers: Helmut Berger (yes he's old...) watch a scene from "The Damned" then Bonello uses the zoom.
The movie is enchanting, better than the other movie about YSL.
Bonello uses Yves as a springboard to construct a constellation of creativity. The movie is an ode to Warhol, Visconti, Proust, Callas, the precision of atelier seamstresses, the giddy decadence of 70's nightclubs, and the supreme joy and torment that come with being an artist. 10 to 15 minutes of editing would have benefited, but I nevertheless found it pretty enchanting and wonderfully idiosyncratic.
YSL est attachant & son art admirable dans ce long biopic plus proche de Harlequin que de Jean GENET. ULLIEL joue affecté. GAREL & SEYDOUX s'ennuient, nous aussi. Dommage que la musique n'ait pas rythmé les années. == As for GAREL & SEYDOUX, we got bored in this falsely decadent biopic, closer to Harlequin than to Jean Genet. Despite ULLIEL, YSL & his art are endearing. Too bad the music did not punctuate YSL years.
Gaspard U. reminds me of Bowie in The Man Who Fell to Earth. Another extraterrestrial addict. YST is totally an extraterrestrial. Which, from his standpoint, would make the rest of us aliens. Women are particularly alien. They are alien alters, fetishized from a great distance. Something about celebrity removes the person who possesses it from the world. YST is very far away. Hence the ending. A really great ending.
By concentrating on a shorter time period with a more leisurely running time Bonello's sublime portrait of YSL is by far the superior film in comparison to Lespert's. Simply gorgeous in execution from its authentic costuming to its wonderful set design and exquisite cinematography. Music choices and score are also memorable. Performance wise Ulliel is quite magnificent with strong turns by Rennier and Berger.
The scene where Helmut Berger sees himself in Visconti's "Götterdämmerung" is explicit of this programatic film: a supposedly sophisticated staging of perversion and decadence, in which the human is more a figurative element of a regulatory aesthetics- as the overrated "L'Apollonide". Remains the picking up scene between Ulliel and Garrel at the disco, driven by travellings of drawing desire. And Dominique Sanda.
Much like the subject it depicts, Bonello's film is uber fragmented, leaving a confusing sense of displacement and narrative cohesion. Despite some truly masterful scenes and a pair of strong performances, "Saint Laurent" lacks direction, often times not knowing what point is trying to make. It could have been great. Instead, it's merely another piece in the cinematic mosaic depicting the troubled YSL.