Alexandre Desplat is one busy man this year, yet he somehow rarely disappoints. Coco before Chanel is no exception, though it is a close cousin to the Curious Case of Benjamin Button. Desplat's use of the celeste, strings, and piano, have been featured in almost everyone of his scores, becoming a true watermark that will indeed sweep you into alluring atmospheres and threads of dulcet tones. The obligatory waltz is here, and it is as usual, vibrantly lovely and certainly welcome. The first few notes may make one think that the piece is about to segue into the Sleeping Beauty Waltz by Pyotr Tchaikovsky, but of course it does not and will not. Despite the charming and melodic nature of Desplat's score, however, it does feel slightly underdeveloped and virtually unidentifiable among his plethora of works. Fans of Alexandre Desplat will find what they are looking for: consistent sophistication and quality. Newcomer's to his music will want to check this one out for its attractive style, tone, and melodic sensibility. While dissenters should steer clear, for there are no noteworthy surprises to be had.
Now to the music!
Tracklisting:
1) L'abandon: Plucked strings educe a 'tick-tock' effect, while a dreamlike piano and alto flute echo passages of nostalgic melody. 2) Chez Chanel: A bit of fashionista fantasy and Golden Age Hollywood are incorporated into this bold waltz to make it fresh and satisfying. 3) Coco & Boy: A Curious Case of Benjamin Button reference, that is enchanting, nonetheless, featuring staccato flute and piano playing off of each other, while celeste and strings glide over the top. 4) Royallieu: A cautious start, but similar to the above Coco & Boy, with delicate otherwordly touches. 5) Couture: Mischievously determined pizzicato strings dominate this cue, but just don't have the engaging quality that the aforementioned pieces have had thus far. 6) Avenue du Bois: Reprising Coco & Boy, this track is short, but still interesting. 7) Premier baiser: We are treated to quiet elegance that is unfortunately abbreviated, yet wonderful, all the same. 8) Gabrielle Bonheur: Fragile and pretty, though brief. 9) L'Hippodrome: The letdown of this particular cue is that at any moment you just know it's going to unfold into a rapturous melody that would overtake your emotions, but it never does. 10) Arthur Capel: Now we are introduced to a trio of hushed and reverent cues, but not to the high standard of what has come before, which makes them a bit dull. 11) Confession de Balsan: Nothing is accomplished. 12) Coco reve de Paris: Slightly better than the previous pieces, Coco reve de Paris evinces a mesmerizing atmosphere. 13) L'Atelier: The first cue, L 'abandon, is revisited, but it is a welcome reunion, only not as replete. 14) Un seul Amour: This piece seems to be a reminiscence of a better time, a sweet morsel of tragic romance performed by piano and strings. 15) Le Chagrin de Coco: An emotive piece that will make one's heart ache. 16)Casino de Deauville: A reprise of the second cue, Chez Chanel, overflowing with rapturous wonder. 17) Little Black Baby, Vanessa Wagner: N/A 18) Qui qu'a vu Coco, Audrey Tautou & Marie Gillain: N/A
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1. L'abandon (04:07)
2. Chez Chanel (02:33)
3. Coco & Boy (02:48)
4. Royallieu (02:54)
5. Couture (02:28)
6. Avenue du Bois (01:38)
7. Premier baiser (01:40)
8. Gabrielle Bonheur (01:54)
9. L'Hippodrome (02:55)
10. Arthur Capel (02:09)
11. Confession de Balsan (01:27)
12. Coco reve de Paris (01:32)
13. L'Atelier (01:48)
14. Un seul Amour (01:54)
15. Le Chagrin de Coco (03:00)
16. Casino de Deauville (01:38)
17. Little Black Baby, Vanessa Wagner (01:37)
18. Qui qu'a vu Coco, Audrey Tautou & Marie Gillain (01:42)
