Yves Saint Laurent (2014) User Reviews

Beautifully Shot but Ultimately Superficial Biopic of the Great Fashion Designer

[l_rawjalaurence · 6/10 · 8 October 2014]

YVES SAINT-LAURENT traces the career of the eponymous fashion designer (Pierre Niney) from his early days in the late Fifties to the zenith of his fame two decades later. The film concentrates on his professional as well as his personal struggles with long-time lover (and manager) Pierre Bergé (Guillaume Gallienne).

Director Jalil Lespert makes a lot out of Saint-Laurent's background as an outsider; born in Algeria during the colonial period, he never really felt at home in mainstream Parisian society. He began his career by following existing fashion patterns; but after being dismissed as "boring," immediately after leaving the house of Dior (Patrice Thibaud) he branched out on his own. This proved a wise move, as the film shows how he shot to stardom with a series of daring and often innovatory designs. There are several shots of Saint-Laurent working on his new creations day and night, to the despair of Pierre.

YVES SAINT-LAURENT offers a sumptuous recreation of Fifties and Sixties Parisian society. Deliberately shot in washed-out colors, the film conjures up a lost world of large saloon cars, packed streets and never-ending parties where Saint-Laurent spent most of his leisure-time. The models' hairstyles are deliberately ostentatious, especially that of principal mannequin Victoire (Charlotte Le Bon) who at first attracts and then repels Saint- Laurent.

Lespert's film doesn't tell us much about Saint-Laurent's life, other than the fact that he was something of a tortured genius, always on the lookout for personal as well as professional satisfaction but never seeming to find it. He enjoys a close relationship with his mother (Marianne Basler), and later on in life he always runs back to Pierre for emotional as well as professional support. With his black horn-rimmed lenses and increasingly disheveled hair-styles, Niney gives a convincing portrayal of the designed. On the other hand, perhaps the script should have offered more insight into how Saint-Laurent became such an iconic figure of the fashion world; what was it about him that made him so popular with both high society and the ordinary consumer.

As Pierre, Galienne has to make the best of a supporting role, and succeeds brilliantly. He comes across as a patient person, ever ready to forgive Saint-Laurent's excesses; but nonetheless dedicated to the fledgling fashion-house's future success. In several backstage sequences he is shown managing the models, designers and other assorted hangers-on with quiet efficiency, clipboard in hand. It was mostly down to his efforts that the house of Saint-Laurent enjoyed its global success; without him, the designer might have only had limited appeal.

YVES SAINT-LAURENT is definitely watchable - some of the party- scenes where the hero enters a drug-filled world of fantasy and hallucination - are particularly memorably shot. But I still think the film represents something of a missed opportunity to dramatize the life of an icon.

Well intended but wafer-thin bio-pic lacks drama and depth

[paul-allaer · 6/10 · 12 June 2015]

"Yves Saint Laurent" (2014 release from France; 105 min.) brings the story of one of the biggest names ever in the fashion design industry, YSL. As the movie opens, we are in 1957, where we see young Yves with his family in Oran, Algeria (not long before the revolutionary war breaks out). During the opening titles, we jump to today, where YSL's partner explains why he is selling all of the art they had collected over the last 4+ decades. We then jump back to the late 50s, and it's not long before the crazily-talented YSL is off to Paris, where he works under that other monument of the French fashion industry, Christian Dior. When Dior unexpectedly passes away, YSL becomes the head designer (he was barely 22!). Meanwhile. we also get to know the personal life of YSL. To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first, there are dueling biopics on YSL currently out there. Besides this movie, there is also the similarly titled "Saint Laurent", also from France, so be careful to be sure that you don't mistakenly confuse one with the other. Second, this movie tries to give us both a look at YSL's professional life and his personal life, but in the end really doesn't do either one justice. It all seems very hurried (the movie covers 1957 through 1976), and as a result the movie lacks depth and drama. That is really a shame as there are some good moments in it. One of those is when YSL is under observation at a military hospital, and YSL's partner tells him: "Do you want to live or do you want to die?" Another good moment comes much later when the same partner observes "You are happy only twice a year: in Spring and in Fall, when the collections come out". I wish there were more such key observations. The two lead actors, Pierre Niney as YSL and Guillaume Gallienne as his partner, give their all in performances covering 2 decades, and it's certainly not their fault that the movie, while promising at times, ultimately falls short. Last but not least, tip o' the old hat to the production design of the movie, with the immaculate reproductions of Paris in the 60s and 70s (check out the old cars!).

"Yves Saint Laurent" opened without any pre-release hype or advertising last summer (July, 2014) at my local art-house theater here in Cincinnati. I figure it wouldn't be playing long so I went to see it right away (I was right, as it disappeared after only 1 week). The early evening screening I saw this at was not particularly well attended. The other YSL biopic I mentioned earlier is finally opening this weekend here in Cincinnati and I'm looking forward to check that out, just to see how different it is from this one. Meanwhile, well-intended as it is but flawed, I still might suggest you check out "Yves Saint Laurent" when it is released on DVD/Blu-ray. If on the other hand you are a fashion aficionado, then this movie is a must-see!

A fitting tribute to the great man of fashion

[cinematic_aficionado · 7/10 · 22 April 2014]

The young up and coming executive of a fashion house who became an industry icon himself.

In this biopic, we are treated to a rather different angle of the legendary designer. We follow his early steps in the world of fashion and how his vision guided him and his unremittingly uncompromising personality made him a stand out. Like all 'celebrities' it was rather sad to see him fall into the alcohol and drugs trap but it was the love of someone else that kept him steady, possible saving from altogether destruction.

Being so open about his homosexuality in such puritanical times was also refreshing to see.

Overall, whilst it might not be a masterpiece of a movie, but still it has style, class and panache to make it a memorable experience even a fitting tribute to this great man of fashion.

Lust For Life

[chousissy · 8 February 2017]

This movie is much better than I expected. I don't have much interest in haute couture, but I was gripped and the clothes whether on the catwalk or just in general were to die for. It's an awesome and skillfully made biopic that's really addictive and captures Yves Saint Laurent crazy life and pure genius as a self-destructive artist in a beautiful way.

In a career spanning fifty years YSL changed women's fashion, but at the movie's core is Saint Laurent's emotional passion, and the dynamics of the love story between him and Bergé. Lets say there wasn't too much loyalty in the bedroom but the movie sure captures the story of the tortured genius and the partner who kept him on track.

The movie is beautiful in every detail and the acting is exceptional throughout. Pierre Niney is outstanding as Laurent. He' s a freaking talented actor and I cannot believe that Yves himself would have been disappointed with the portrayal. His performance really made me feel for the guy. Guillaume Gallienne and Charlotte Le Bon are awesome too. I highly recommend this movie. There is something about French movies, even when they're not awesome, they're still great ☺

In depth biopic which covers every aspect! 6/10

[leonblackwood · 6/10 · 26 July 2014]

Review: This movie gives an in depth look into Yves Saint Laurent life, which had its ups and downs throughout his successful career in the fashion industry. I liked the way that the director showed how he became famous after his brief take over from Christian Dior. It really does show the dark side of his life and his battle with his inner demons whilst trying to sustain his career. Pierre Berge really was the genius behind the business side of his fashion world, but when it came to the actual designing and production of his amazing clothes, you really can't fault Saint Laurent. His whole thought process was extremely unique which was noticed by Pierre, earlier on his in career. After battling through many obstacles in his life, Yves always received love from the public through his fashion which is still popular to this day. As a movie, I found it entertaining and an eye opener, into a world which I know nothing about. Enjoyable!

Round-Up: I haven't heard of any of the actors in this movie before, but man, they really did do a good job. The emotion and drama throughout the movie was great and the performance by the leading actor couldn't have been played better by anyone else. His mannerism and gestures were spot on and he actually did look like Saint Laurent. I would have liked to see what had happened in his career before he sadly died in 2008 of brain cancer, but it's still a very well put together biopic. After watching the bonus features on the DVD, I saw that the real Pierre Berge helped with the move and he gave them permission to use the real clothes and shoot in Yves apartments which shows how in depth the movie really is. It would have been good to see some real footage of the man himself, but that's just me being fussy. I'm not usually one that likes movies with subtitles, but I didn't lose interest throughout the movie, which is a plus for me.

Budget: €12million Worldwide Gross: $20million

I recommend this movie to people who are interested in Yves Saint Laurent and the troubled mind behind his successful career as a fashion designer. 6/10

A Nice Artistic Biopic Falling Short

[j-penkair · 6/10 · 24 May 2015]

If you knew enough about Mr. Saint Laurent's life and already in love with his dazzling works on your way in, this film would satisfy you. Otherwise, you were left hanging out there, feeling that something's missing. This biopic did a good job in not overdramatizing the less-than-eventful life of this famous designer. We were allowed to observe the substantial life of Mr. Saint Laurent in a quiet but penetrating way. The actor actually brought back to life Mr. Saint Laurent. Through him, we feel the senses of fulfillment, deprivation, craving for stability or wilderness of love, and we acknowledge that Mr. Saint Laurent and his lifetime companion and business associate truly steered the Saint Laurent ship through the uncertainty of life and multi-faceted forms of human weakness. It shows us that artistic talents, while indispensable, must be supported by mental strength and determination, something Mr. Saint Laurent missed at times. Well, lust for money and financial success does help, I figure, but it is never the main element to real success. To me personally, Mr. Saint Laurent's life is not enough to make a great drama. A biopic, yes, but not a drama. If the script writer should decide to explore inner thinking of Mr. Saint Laurent behind a few of his designs, and the struggle and the inspiration he had during the process, we might be getting a drama in our hands. Another lacking element was the pressure of changing decades / era. The film simply moved us from this year to another, without real insertion on what all these time changes meant. They should have brought us new challenges, fears, uncertainty, and the other world around the fashion world. There was none of it. Judging from this film alone, Mr. Saint Laurent simply floated around this world, graced upon it, and simply left. Not enough.

Delving Beneath the Surface of a Life in Fashion

[mistercsays1 · 7/10 · 1 July 2014]

In many respects, this biopic of the titular fashion designer is everything you might expect. It is full of beautiful people wearing beautiful clothes in beautiful surrounds. Fortunately though, Yves Saint Laurent is much more than that and we do get some insight into a man whose demons very nearly threatened to derail his reputation and career on more than one occasion. Too often, biographical films try to cram too much into the limited running time that a motion picture necessarily demands, so it is very pleasing that director Jalil Lespert has avoided the temptation to cover every stage of Saint Laurent's life and career, opting instead to focus, for the most part, on his emergence as a pre-eminent figure in French fashion circles and the ensuing bouts of self-destructive behaviour that threatened to overshadow his creative genius. The film does touch on the later stages of Saint Laurent's life, but primarily to contextualise the relationship with lifelong partner Pierre Berge, who we first meet in a pre-credit sequence set after Saint Laurent's death. The story is then told as a recollection of events from Berge, who provides a second-person narration as though it is being delivered to Saint Laurent himself.

Pierre Niney takes on the role of the Algerian-born Saint Laurent, who we first meet at home in Oran on the Mediterranean coast. Whilst still in his teens, Saint Laurent finds himself working for Christian Dior, whose death in 1957 propelled Saint Laurent into the role of head designer at Dior's fashion house at just 21 years of age. Already encumbered by a social anxiety that he attributes to childhood bullying, Saint Laurent finds it difficult to cope with the aura of expectation that surrounds him. When he is drafted into the French military, Saint Laurent finds himself unable to cope, is confined to a psychiatric hospital and subjected to electroshock treatment. Sacked by Dior as a result, Saint Laurent establishes his own brand with the help of Berge (Guillaume Gallienne), a cash settlement secured from his former employer and the support of an American investor. From this point, Saint Laurent emerges as a superstar of the fashion world; each new collection met with adoring enthusiasm. However, whilst his professional profile explodes and he cements his reputation as one of the truly great designers, he sets out on a path of self-destruction; partaking in drugs, excessive alcohol consumption and infidelity in an effort to combat the depression, anxiety and insecurity that plague him.

This is very much a film that examines the relationship between Saint Laurent and Berge, with the latter emerging as a stoic hero figure who stands by Saint Laurent throughout the tumult that was their personal and business relationship. If what we see is to be believed (and I have no reason to suggest we shouldn't), then Berge was a guardian angel for the troubled designer, serving as manager, constant companion, lover and lifesaver. It is hardly surprising therefore that the real life Berge has endorsed the film, which is based, in part, on his book Letters to Yves. Furthermore, Berge has praised the performances of both actors, telling Vogue magazine that he was "blown away by Pierre Niney's performance. It really disconcerted me. It even upset me, because it's very difficult. At times, I thought it was Yves Saint Laurent himself. That's huge." On Gallienne, Berge declared "I think he's an extraordinary actor." Of course, as a result of Berge's ties to the project, the filmmakers were granted access to Saint Laurent's original design studio and more than 70 of his vintage outfits and, it must be said, the clothes are stunning. Another key figure in Saint Laurent's life during his rise to fame was model Victoire Doutreleau (played by the stunning Charlotte Le Bon), who was one of Saint Laurent's few close friends until forced out of his life by Berge, who considered her a bad influence.

Yes, the film is a celebration of Saint Laurent's creative genius, but it certainly doesn't shy away from the darker side of his personality. It is a reminder of the destructive nature of disorders such as depression and anxiety, even amongst those who seemingly have it all. The film looks elegant – sumptuous even – and the musical score draws upon classical, jazz, rock and opera at different times, to mostly good effect. Ultimately, Yves Saint Laurent is an engaging, if somewhat genteel, examination of the life (or part thereof at least) of a talented yet troubled individual. Lespert has crafted a film that explores the darker side of Saint Laurent's personality without diminishing his legacy as a fashion icon.

Like a bad fashion show

[Horst_In_Translation · 4/10 · 18 August 2014]

Yves Saint Laurent is the newest film by actor-director Jalil Lespert and centers (as you might have guessed) on the fashion legend, namely on his earlier years and rise to popularity. You get pretty much what you could expect: YSL's constant changes between suffering personality and creative genius as well as lots of drama in terms of homosexuality, trust and betrayal of friendship, affairs etc.

Unfortunately, not only Pierre Niney as YSL could not only convince me (wasn't really his fault though, more of the shoddy writing), but the whole film fell flat. It was all too showy and in your face. Zero subtlety. You hardly learned anything about the character, but it was all focused on putting as much theatricality and sensationalism as possible in these over 100 minutes. And then randomly include a meeting with Kalr Lagerfeld. The only really positive aspect of this one was Guillaume Gallienne as Pierre Bergé, who gave a quality portrayal and it was actually captivating to watch his actions and how he walked the fine line of dealing with the fragile genius. That is not enough though to save the film. Not recommended. You really need to have deep interest into the world of fashion to appreciate this film or maybe then you will hate it even more. Lets hope YSL gets a better biopic in the near future. He certainly deserves it.

An excellent companion piece to L'Amour Fou

[thedozinglion · 8/10 · 21 January 2014]

I have just watched Yves Saint Laurent and found it to be a visually sumptuous film which totally captures the dying days of the elite formal couture houses before bursting into the hedonism of modern global fashion brands. An excellent companion piece to L'Amour Fou (2010), giving an insight into the tempestuous but private relationship between YSL and Pierre Bergé through the pitch perfect acting of Pierre Niney (Yves) and Guillaume Gallienne (Pierre).

The film charts YSL's career from his early years at Dior in the late 1950s through to his iconic Ballet Russes collection of 1976. The world of the late 1950s is perfectly captured with elegant Dior designs, stylish models and a jazz score that matched the chic Parisian apartments the characters inhabit.

In one such apartment Yves meets Pierre Bergé, the man he will spend the rest of his life with both privately and professionally. For Pierre is the man who orchestrates the creation of YSL as a couture house. He gives Yves the confidence to "create on my own terms" and show the world his own particular view of feminine beauty and elegance.

Their relationship mirrors Giancarlo Giammetti and Valentino Garavani who together also created an iconic fashion house and sustained a personal relationship for over 50 years. Their story too is wonderfully and humorously captured in the documentary The Last Emperor (2008). However, one is left with a sense that Giancarlo and Valentino had a much more stable relationship to that of Yves and Pierre. The YSL movie captures during the 1960/70s Yves' erratic excesses with drugs and sex and Pierre's jealousy and need for control.

But this expose of their difficult relationship in no way detracts from the exquisite design throughout the movie. From the elegant, well documented interiors of Yves and Pierre's Parisian apartments, to the bohemian Moroccan lifestyle they enjoyed with the likes of Loulou de la Falaise and Karl Lagerfeld.

This film was a joy to watch with a standout performance by Pierre Niney, whose voice and mannerisms made Yves live once again.

Interesting insight into YSL's lesser known (decadent) sides

[AkelaLoneWolf · 7/10 · 17 April 2014]

Interesting insight into the life and less-known sides of the legendary Yves Saint Laurent. This was more than a mere tribute to the fashion icon by shots of most (if not all) of his successful collections, it was an in-depth description of what it meant to live with and love a sensitive genius who always carried his own crucifix. The dedication of the faithful Pierre was moving as he guarded over his frail partner who might go off anytime like fireworks.

Consider me priggish if you will; I felt the film focused slightly too much on the decadence (alcohol, drugs, sex - you name it) of the chief protagonist. Though perhaps for some talented souls, these indulgences served as their Muse. The fashion shows were intoxicating, and the wedding gowns (especially the Madonna) were awe-inspiring and overwhelming. Overall, I'd say a 6.8 out of 10.

For fashion lovers. That's it.

[santiagocosme · 5/10 · 10 December 2016]

I was recommended this movie by my sister who is, like many girls, really into fashion. For her Yves Saint-Laurent represents one of the great masters of fashion. A man that was born to make women look beautiful. Now that said, I really don't see anything in the movie a man who is not particularly into fashion could like about it. The story of YSL is boring at best. Not his actual life but the way he is portrayed. Falling into drugs at a pretty young age and not being able to ever keep it together during the majority of his life. He had a boyfriend/manager who is used as the person telling the story of the fashion legend. By the end of the movie, I don't know if you feel like you have find out loads of things about YSL that you didn't know, you are just left to wonder how his boyfriend put up with him for so long.

The Biopic is about the "backstage" life of the well-known fashion designer, Yves Saint Laurent.

[eman_mohammed95 · 9/10 · 11 June 2014]

The movie starts with the young Yves Saint Laurent, sitting on his small desk and sketching. The whole story-line is being told by his long-term partner and only lover, Pierre Berge.

What I like about this movie, in my humble opinion, is that it takes you, step by step, throughout the time-line of the events, labelling every major event with the year it has happened in. That helped in saving the troubles of loosing contact throughout the film, by keeping you on track with the dates, like the date of the "Le Smoking" collection which was in 1967; it was written on the screen in order to clarify when that major event happened.

The movie describes precisely what happened in the artist's life, whether on the runway or backstage and during the creations of the magnificent masterpieces that he created. The film is very clear and has shown no difference nor editing to the true story, and all of the cast played their right parts in a great way, specially Pierre Niney's performance that deserves a stand in ovation, chapeau!

They did their researches and reached whoever they could reach in order to gather as much information about the deceased legend, and it did pay off. Niney took sketching, vocal, and drawing classes for this role. They even used original pieces from Yves's collections -which exceeds 8,000 pieces, and with the generous help of Monsieur Berge and other people who have personally worked with Monsieur Laurent, they've put everything in its right place.

The music matched the film perfectly and set the ambiance in the right way, and Ibrahim Maalouf did a great job when choosing the Jazz/Blues genres for the songs and music composed, whether made originally for the biopic, or carefully chosen to match the themes of the film.

It is a remarkable touch what Jalil Lespert made when ending the movie as the much older Yves is -as the beginning of the film, seated on a small desk and sketching, but this time, accompanied with his beloved partner Pierre Berge.

The movie is not at all a "gay story", it is a very touching story of a man who was an artist, a genius, a lover of life and beauty. A man who was very shy and fragile that he only found strength in what he did and in how Pierre loved him. Very inspirational that story is, sad, but very life changing.

The film clearly showed all the sides of Yves' life, even gave a glimpse about his childhood, and how he was constantly bullied in school.

If you are not much of a reader-type, and you like watching more than reading, then this biopic is the right one for you; it will give you the required information you need about that Fashion-God, maybe a bit more than you need, but you will sure be satisfied and fulfilled.

Yves Saint Laurent: a film that shan't be missed. It is the least that could be done to a man who saw women as masterpieces of art and did his best, and much more, to make the world see them that way as well.

Quite a alright French biography drama!

[Irishchatter · 7/10 · 19 March 2019]

From out of all the biopic dramas I've seen, I gotta say this is one of the confusing ones I've seen because well, I never heard of Saint Laurent before nor it's creators who were a gay fashion designer couple. However watching the drama was quite gluing to watch and of course both the couples embraces were very uplifting as well as romantic. The actors did a good job playing the men and the backgrounds of each places they were in are quite elegant. Even the park scene was quite nice, I say people are right that France does have a romance size to it.

This isn't really one of the best gay movies I have seen but it's certainly not bad to give it a watch if you feel like watching a movie! 7/10

Film Review: Yves Saint Laurent/ www.nightfilmreviews.com

[lucasnochez · 5/10 · 18 August 2014]

Becoming a trend-setter in the fashion industry can be quite the challenge, but making a fashion movie with some cinematic and historical merit is the real challenge many have been willing to accept, and have failed miserably. Even though there are so many irreplaceable names within fashion with such interesting stories to tell (Dior, Arden, Versace, Ford, Varvatos, Gucci and Chanel to name a few), director Jalil Lespert chooses Yves Saint Laurent; one of the few fashion icons to have his pieces of high fashion and considerably iconic art pieces displayed in museums and prestigious art galleries around the world. Yet, with Yves Saint Laurent, we aren't quite sure if that is simply enough for a biopic of this stature.

Lacking any real panache and coming undone at the poorly constructed narrative seams, Yves Saint Laurent becomes a retro-fitted cinematic mess that, similar to many of Luarent's pieces, is more fun to look at than to wear, or in this case, follow narratively. Yves Saint Laurent depicts the tormented life of a genius, torn apart by the luxuries of high living and fame at too young an age. While Laurent could never possibly be taken away from being a visionary, his newest film by veteran French actor Jalil Lespert focuses more on its grainy, melancholic exterior than it does with coherently telling the story of one of the most revolutionary haute couture designers of the mid-1900's.

One of Lespert's greatest facilitators of telling Laurent's story is sex, and his story begins at the tender age of a twenty-one when Yves Henri Donat Mathieu-Saint-Laurent (Pierre Niney) was simply the assistant to Christian Dior. Lespert's film is a daunting task of understanding the ambiguity of silence and the mixed feelings of Laurent, who makes advances to his female friend and model Victoire Doutreleau (Charlotte Le Bon), yet exchanges undressing glares to his Algerian male gardener–this introduction of the film really throws audiences off. Thankfully, the slight glimmer of brilliance that is Lespert's film is understood fully once it is revealed that Laurent is a homosexual, and falls in love with Pierre Bergé (Guillaume Gallienne) in a seamlessly idyllic visit to a friend's Northern villa. Although Laurent's marriage to Bergé is never seen on film, rather, the tyrannical disputes of power within Laurent's fashion empire and the constant sexual espionage between the couple is used to replace some of the fluffy, real life moments between the couple, the real life Bergé applauded the film for being a rather authentic look of the life of he and his questionable true love. It's too bad Lespert's film is ruined with an annoying voice-over narration that reveals the film as B-grade cinema rather than stuffy, fine-French cinema couture.

Lespert is keen on making it clear that, Laurent had always led a privileged life, despite the horrors occurring in Oran, French Algeria (his birthplace) at the time of the late 1950's, and his family's move away from Algeria at the time and into France. Villa to villa, despite Laurent's apparent talent for fashion and designing, it shows just how much luck (good and bad), and being at the right place at the right time gave Laurent the opportunity to head the House of Dior, following Dior's sudden death at the age of fifty-two. But, the impact of the Algerian War of Independence doesn't stop there as it sucks Laurent back in when he is conscripted to join the French Army. Despite being the head of the House of Dior, Laurent enlists, only to be subjected to wide variety of medical tests that lead to illness, with tortuous means of remedy and an expulsion as Head Designer and a chance to head his own fashion house in the early 1960's, YSL.

One of Yves Saint Laurent's strengths as a film is showing the relationship between our self titled character and giving audiences a glimpse into the complicated life that he and his life partner, Bergé, really had. The heart of the film is seen between Niney and Gallienne, who give great insight on the chemistry between the great minds of such a powerful fashion brand and the inner workings of business geniuses, but a poorly matched couple. While watching the film, I couldn't help but notice how tasteful and well-constructed the scenes and relationship between Bergé and Laurent is highlighted, while earlier films this year, specifically the narratively crippled James Brown biopic Get On Up hardly gives justice to the complex inner workings of the business partnership and friendship between James Brown and notoriously anonymous Bobby Byrd.

I have to admit, up until the film introduces Laurent's muse Loulou de la Falaise, played by Laura Smet, I was confused, as I knew that Léa Seydoux (Blue is the Warmest Color) strolled the red carpet in Cannes earlier this year for her role as the infamous muse. Once I was out of the theatre and was able to check my smart phone, it became clear that indeed, Seydoux did play de la Falaise, but not in this Laurent film. Saint Laurent, the other Yves Saint Laurent film made this year, who made its premiere at the Cannes Film Festival, will surely be a daunting competition for this film, seeing as it was embraced and accepted into the highest class film festival, while this Laurent film may very well be the department store version of the Laurent story.

One of the definite films

[sandover · 20 March 2014]

about imperial ass-kissing. The film proclaims to be the closest to reality version of YSL's ascendancy and troubled middle years, what with all the couture and sketches from the archive, that had the approval of Mr. Berge. Also his astonishment by Niney's portrayal of YSL. And that should be enough.

Yet the moment off-screen narration steps in, with the voice of an elderly version of Mr. Berge, as in an extension from his funeral eulogy for YSL, we are in deep, troubled waters. Is this a personal letter in the form of a movie feature length film? Does it inaugurate something new, something equal to its initiative, given the imperial gesture? The motive seems little more than ass-kissing. People may object that Mr. Berge has the same chauffeur for decades, and that tells something about the man, but you cannot go into film-making with that kind of mentality; at least, you cannot supervise it thoroughly. And the fact that he chose a first time director, instead of someone more experienced to handle such a dramatic life that calls for insight, should make us pause and think.

As it is, Pierre Niney gives a wondrous impersonation; but this is not acting. The film soon derails after its beginnings, into a run-by-the-numbers descent into drugs, insecurity, jealousy, retaliation, beauty and second-rate shenanigans portrait of a couple's life that seems as interchangeable as any. Should we care for Mr. Berge's "sincerity" in exposing himself as a vindictive personality who wanted to control YSL's life by getting into his bed everybody the former cared for? Yes, we should care, by condemning this self-aggrandizement AND advertisement, for it is nothing else, and no one should buy into the "sincere" element of this loathsome behavior.

But in order not to be abstractly moralistic, I will ground what I suggest in more detail: watch Gallieni's gaze that has something epicene, which the actual Begre surely lacks: this is a fictional detail that calls for unwarranted sympathy.

For all the Marrakech scenery, the LSD sequence comes off as offensively unimaginative; clown faces in the camera, really? This severely undermines YSL's vision, who may have experimented with drugs but not like a deluded off-shore May '68 student: after his sojourn there he came back with the sublime scandal of the first see-through blouse. Where is that? Where is the '71 Occupation show scandal? Of all the references to his shows all we get is the famous and respected Russian one from 1976 that is presented in the film in a mortuary manner. And then the appearance of Berge's old age suddenly talking to a ghost. Please. Spare us the badly edited sanctimony.

The film has only the fashion, the sketches, the lodgings and the artifacts to offer, but this does not amount to film exactly; the film feels introverted, with YSL's friends and court curiously lacklustre, with none whatsoever evocation of the era's scale, of the persons' complexity or/and vision, as if it all was a mundane party affair of a middle shots sensibility and eye for space and how people occupy and move around it. May the garden forgive and forget.

One sincerely hopes that the forthcoming film about YSL, since it does not have the approval of Mr. Berge will deal with less archival respectability. I for one hope that it will deal, since it is yet again a young actor portraying YSL, with the guerre des dentelles (pauvre Lagerfeldt, by the way) in a less hammy manner. Who knows? Perhaps one day we will have a feature covering the 80's wars between Berge and Arnault, or one for the 1990 January show and its aftermath with the Opera Bastille opening with Les Troyens, with Aeneas flying from the fallen city of Troy and his ill-stared love for Dido. Tell me about some story-within-a-story operatic lace, not some Marrakech chewed up-scenery in a sophomore manner for the emperor.

Beautifully wrapped but disappointing overall

[guy_from_may_98 · 6/10 · 21 September 2021]

The highlights of this movie are the costumes, set designs and Pierre Niney's performance who carries the entire movie on his back. The rest in only alright even though the first 40 minutes of this movie are pretty great. It falls apart the more it progresses.

Indulgent fun

[proud_luddite · 7/10 · 8 June 2019]

The famous fashion designer is the subject of this French biographical film covering a twenty-year period beginning with the time he worked for designer Christian Dior in the late 1950s and later met his lover/business partner Pierre Bergé.

This film is as chic as the designer himself. The various styles in fashion, music and lifestyle varied greatly from the late 1950s to the late 1970s and this film emphasizes the aesthetics, charm, indulgences, scandals, and revolutionary feel, taking the viewer on a joyous ride.

The same storyline was exposed in the documentary L'Amour Fou (2009) which was made shortly after Saint Laurent's death in 2008. The documentary is more complete in covering the full life story and its aftermath upon Saint Laurent's passing. The fictional film concentrates more on the difficult years of addiction and obsession in the 1970s but despite the incompleteness, it's still enjoyable mainly due to the lead performance of Pierre Niney who even looks like the designer.

Not really a fun movie to go through

[alvaroruin · 7/10 · 5 October 2014]

A bit slow, well directed, certainly uncomfortable to see for some for its homosexual scenes (to some people), cast is good, and the soundtrack is AMAZING. Might have been what kept me watching it steadily.

It shows the darkest side of Yves life but sadly it battles between showing too much, and not showing much at all, so it kind of half-asses the most compelling aspect of the hole story; and as mentioned before, it's uncomfortable to watch because the film approaches it with the same weirdness as the prolonged sex scenes.

Otherwise, a bit of background on... everyone?... might have been useful on the development of the characters or at least ONLY on Yves'.

I enjoyed just colorful costumes and color scheme of images.

[Aoi_kdr · 3/10 · 1 July 2019]

I didn't know Yves Saint Laurent was homosexual. Also the story forcused on that, so maybe we should call it love story better than his success one. I think it was not enough to depict his suffering.

beautifully and emotionally portrayed

[constance22 · 8/10 · 1 October 2015]

YSL has been and remains one of my truest fashion icons. I loved this very intimate portrayal of his life with Pierre Berge in the beginning years of his career. I felt a lot of sympathy for M. Berge from this film. Less so for my genius icon, YSL. I thought the jazz score was so perfect and I enjoyed the interludes of appropriate- to- the- times rock favorites. It was beautifully photographed and the production values were so finely done. I had seen the other Saint Laurent movie and recall walking out of the theater disgusted, because it concentrated so heavily on YSL's dissolution; this film was far more subtle while still revealing his "other life" apart from his creativity. It amazes me that YSL lived so long while quite debilitated. Very sympathetic film. I liked the infrequent voice-overs of M. Berge. The English subtitles were pretty good; I understand French. Not enough fashion for me in this film, but I own documentaries and books about YSL that provide his incredible and formidable outpouring of designs, sketches and ideas. What a genius, if a tortured one. How hard it must be for M. Berge to be without his Yves. R.I.P. M. Saint Laurent, you will not be forgotten by all of us who admire your work.

YSL's story

[ksf-2 · 7/10 · 23 September 2022]

Stars pierre niney, guillaume gallienne. Directed by jalil lespert, who has won numerous film fest awards. Based on the novel by laurence benaim. YSL as a young, single man, who is already designing dresses for friends and family. He quickly starts working for dior, and climbs his way up the designer ladder. At a very young age, he becomes creative director at dior. We hear the voice of his partner pierre berge, talking about selling the art collection that they had built up together, now that YSL was "gone". They were still business partners for many years after the breakup, according to wikipedia dot org. And now we're in flashback, showing us how we got here. We do see that YSL is extremely shy, and likes to do one task at a time, mainly drawing his new designs; he is painfully shy, and doesn't like meeting with the press. When pushed, he shows anxiety and anger, and today, would probably be on heavy anxiety meds. About an hour in, we start to see him drinking and drugging, which was also the downfall of halston. Was the loss of new ideas a result of the drink and the drugs, or the other way around? Only he knows for sure. It's well done, catches the highlights and low points of YSL's life.

Shallow visually interesting should have been 30 minutes

[GrassRootsGuy · 4/10 · 23 May 2015]

This reminds me of flipping through a spiral bound photo album... nice pictures but what's going on... who are these people... what are they feeling... why... why... why... did he, or they, or she...

Like Wikipedia we get some factual display of events but little interpretation. Great fashion shows and everyone, almost without exception, is beautiful. I must confess I fell asleep several times so maybe I missed some key elements.

It may well be, in the style of French movies, that clues lurk, waiting for discovery on the third or fourth viewing, but first time around I left wondering, unsatisfied with many questions.

I got a good sense for what things looked like, but little understanding.

Man behind the dress(es)

[kosmasp · 8/10 · 19 June 2014]

The name alone should be something people recognize. For women but even for men the name should mean something. Same goes for me, though I was never aware of the story behind the man who created a trademark. It's a bit of a cliché that men who "make" dresses, are more likely to be drawn to men. But the movie does a good job of finding a balance and showing off a real human being. One with many flaws and vices, as many as virtues I suppose.

So even if you're not aware of the man himself, you might find something intriguing here. And the beautiful Charlotte is a great companion to break into the male dominated world, where obviously the focus lies on our main actor. And a terrific job he's doing here, always balancing many aspects of a life that while many have longed for, none would have wanted to turn exactly like that. Being with people, does not take away sadness or loneliness ... but watching this playing out, is more than incredible.

A pure Failure

[opuim_eater · 4/10 · 22 July 2014]

The worst movie after "Wilde" 1996 with Stephen Fry and Jude Law. The true about Great Yves St Laurent is in his works it is not in his sexuality. This movie is the second after Wilde that synthesizes two genres - biography with gay soft porno. As a cinema it is zero. We can watch it on the level of the texture - a big misunderstanding, lack of consistency that materialize the psychotic moment in life of Yves.But why this should be interesting, why this orgiastic presentation of the life of genius. I prefer Yves Saint Laurent Aufgehoben in movies, f.ex Visconti 's collaboration with Laurent- Berger, Joseph Losey's ("Romantic English Woman), Claude Lelouch, etc.The authors only superficially placed the topic of neurotic obsession, hysteria and they ferociously fail to do something with this, so why they mention it at all..use it or lose it. Again, not much to be said about such biographic soft porn melodrama. I am sure Berge and Slimane are dismissing the movie

Skimming stones

[Gordon-11 · 19 March 2015]

This film tells the life of the great French fashion designer, Yves Saint Laurent, concentrating on his youthful but turbulent years in Paris and Morocco.

"Yves Saint Laurent" has certainly a lot of beautiful clothes and beautiful people, but it's not enough to be a good biographical film. The story is presented as a recollection from Mr Berge's perspective, with him occasionally narrating to fill in the gaps. The story runs too fast for viewers to gain understanding with the eventful life of Yves Saint Laurent, and the story does not dive deep enough for any emotional connection to occur. Events are not presented in an engaging manner. I guess that's a necessary evil for a biographical film because compressing years into less than two hours is not an easy job. Skimming stones is quite expected.