By Lubna Abdel-Aziz Enchanting and alluring, like a beautiful woman in her prime, they flocked to her shores, like bees to honey. Once a flashy bikinied starlet, situated on an idyllic spot on the Mediterranean, filmmakers found the Cannes International Film Festival irresistible. At first, it was the sun, the beach, the glamour and the parties. Before long the Cannes Film Festival matured, and by the 60s it had established itself as one of the premiere international film events. Every spring the global film industry gathered to watch films, do business, and discuss future projects. It honored the likes of Fellini ( La Dolce Vita ), Michelangelo Antonioni ( Blow Up ). Cannes paid homage to Hollywood's best, such as Robert Altman ( Mash ) and Martin Scorsese ( Taxi Driver ). The Festival acknowledged the creative styles of the likes of Louis Malle, Francis Ford Coppola, Ingmar Bergman, Milos Forman, Ken Loach, and Ridley Scott. Cannes searched for prestigious national talents, paying tribute to Akira Kurosawa (Japan), Costa Gavras (Greece), Bob Fosse (US), Roland Joffe (UK), and Abbas Kiarostami (Iran) . Independent films were selected with relish meeting with their approval and encouragement. A small low-budget independent film by a young unknown director, Steven Soderbergh came out of nowhere to win their prestigious Palme d'Or for Sex Lies and Videotape in 1989. It was impossible to stop the wave of independent, unknown directeur/auteur films which found favor with Cannes' management. A daring selection of films was triggered by a desire to see the best and build bridges between continents and cultures. Names like Jane Campion of New Zealand, Lars von Trier of Sweden, Pedro Almodovar of Spain, David Lynch and Quentin Tarantino of Hollywood. That was once upon a time, long, long ago. Suffering from tunnel vision, Cannes gradually limited its scope selecting nothing other than such auteur films, introspective, repetitive, and of no commercial value, as if that in itself was anathema. Their choice of winners was baffling to critics, when undeserving films were awarded their precious golden palm. Maybe Cannes still is the most famous film festival in the world, but more and more stars and filmmakers are finding that holiday on the Riviera less alluring, not to mention more expensive. It was not hard to predict who would be invited back to the official competition of 2009 - Quentin Tarantino, David Lynch, Jane Campion, Lars von Trier, Pedro Almodovar, and you can guess the rest. Attendance is dwindling, le Marche is poorer, the exciting, international stars, who lend glamour and gravitas to the red carpet, are practically non- existent. The atmosphere is subdued and even the French press, so defensive of its own, has been merciless in its criticism. The irony is that it was for that very purpose of ideological exclusion which occurred in Venice (the oldest film festival established in 1932), Cannes was created. Prizes were given to the Nazis of Germany and the Fascists of Italy, while a deserving French film La Grande Illusion (1937) by Jean Renoir, was totally ignored. The French were furious and by 1939 'Le Festival International de Film' was founded at its exotic Cote d'Azur location. Cannes may still pull it through for its 62nd birthday with the closing film of the festival. Two years ago their "little sparrow" biopic, La Vie en Rose, made quite a stir, winning its star an Oscar for her portrayal of Edith Piaff. Next in line to France's number No. 1 favorite lady is France's No. 2 favorite lady Mademoiselle - that is what her assistants called her. Her friends called her Coco. The name was an abbreviation of a nickname Cocorico (cock- a-doodle-doo), because Mademoiselle loved to get up early to go horse riding. Her given name at birth was Gabrielle Bonheur Chanel. Like Piaff she rose from humble beginnings to wealth, power, and more. Chanel practically changed the 20th century, and her legacy is definitely more tangible, if less emotional, than Piaff's. Coco's personal journey may be less tragic but more controversial. She became the embodiment of all that is new and inspiring to women everywhere. Though often described as a feminist because of her independent, individual style, she spoke more of femininity than of feminism. She liberated women from all the lace, corsets, and fineries by dressing them in feminized men's styles and fabrics. Born in a poorhouse in Saumeur, Maine-et-Loire, France, in 1883, she grew up in an orphanage and spent holidays with two aunts who taught Coco that little girls should be polite, sit up straight, and learn to sew. At 18 she began an affair with Etienne Balsam, a playboy millionaire who lavished her with luxuries. He was the first of a long list of lovers, high profile men of wealth, power and social standing, who helped her establish the beginnings of the Chanel Empire. 2009 is shaping up to be the Chanel year. In January a mini-series starring Shirley Maclaine as Coco in her seventies, was televised in the US. April saw the release of Coco Avant Chanel, starring Audrey Tantou ( Da Vinci Code ). Three other projects are in the making. Cannes is ending its festival with a much anticipated festive note, an Out of Competition film dir by Dan Kounen, & Igor Stravinsky. Chanel, who moved in the best and most artistic circles, from Picasso to the Duke of Windsor, was introduced to composer Igor Stravinsky in 1920. The film covers a 2-week period in which those two geniuses of the 20th century enjoyed a torrid love affair. Igor left us with "The Rite of Spring" and Coco left us with the iconic jacket, the quilted bag, yards and yards of faux pearls and chains, the camellia flower motif, the neat little lipstick in a tube, Chanel #5 perfume, and of course the LBD the chic, simple, flattering - perfect for all occasions - Little Black Dress. Maybe Cannes will be saved again by another Grande Dame next year - Brigitte Bardot anyone! At 62 Cannes should not be showing such signs of senility. We want back our Cannes, enchanting and alluring, strong and daring, aesthetic and versatile. Cannes should be able to reinvent itself, resume the traditions that endeared it to the film world for decades. The international film community enjoyed sampling its variety of genres, tastes and textures. They came first and foremost to feast on film. There is time for work and time for love. That leaves no other time (1883 1971)
