Imagine what it took for Coco Chanel to make her way from an orphanage to the top of the global couturier heap.

You'll have to imagine it at Coco Avant Chanel, actually, because her by-the-bootstraps drive is just one of the things missing from this film about the designer's formative years. It's a pretty film and easy to watch, but nothing you'd called 'definitive'.

Coco Avant Chanel stars Audrey Tautou as the designer.

The story begins around 1890 in an orphanage, where the child was sent by her father after her mother's death; it's a sad childhood, sans doute, but the camera lingers on the crisp, simple lines of the nuns' habits as if to suggest that design inspiration can come from anywhere.

As a young woman, Gabrielle sings for her supper, literally, at a cabaret.

From one of the songs she regularly sings she gets her nickname, Coco.

Coco sews as well, mending and altering clothing, but her hopes are pinned on being an entertainer. Enter Etienne Balsan (Benoit Poelvoorde), a rich patron of the cabaret. They become lovers, and Coco eventually insinuates herself into his life.

She arrives at his lavish estate, where Balsan hides her from his other, more aristocratic house guests. Coco eventually insinuates herself into everyone's life, mostly by designing good hats, learning to ride a horse (astride, too, when women still rode side-saddle) and keeping up her end of the conversation.

Then she falls in love with one of Balsan's friends: Boy Capel (Alessandro Nivola). He takes her to the ocean, where she observes the men pulling in their fishing nets. In the next scene, Coco is wearing a stripey fisherman's sweater. It's all so creative! Capel, who is actually going to marry someone else, gives Chanel the money to begin her business.

From there, the narrative moves forward to her triumphant reign at the House of Chanel, skipping conveniently over that Nazi boyfriend she had during WWII in Paris and a couple of other character traits that wouldn't look so good on a resume.

Coco Avant Chanel doesn't give Audrey Tautou enough to do. The actress is ravishing but withdrawn in the role, showing ennui where aggression was likely closer to the mark. The movie is trite but pretty, with great sets and period costumes, and as it's anchored on Chanel's lovers and their role in her story, it can only be described as a chick flick. That alone would have the real Gabrielle spinning in her well-designed grave.

The movie is in French with English subtitles.

(This film is rated PG)

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