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Booed at its Cannes premiere this year (as Anthony Lane in the "New Yorker" states: "Who was in the audience, Robespierre?"), "Marie Antoinette" is that rare bird: a film that is beautiful on the outside (everything about the...
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Booed at its Cannes premiere this year (as Anthony Lane in the "New Yorker" states: "Who was in the audience, Robespierre?"), "Marie Antoinette" is that rare bird: a film that is beautiful on the outside (everything about the physical movie is eye-poppingly gorgeous: Costumes, Food, Pastries, Shoes {yes shoes...in fact I can't remember a film in recent memory of which almost every reviewer credits the shoes to the designer: in this case, Manolo Blahnik}) as it is on the inside: studiously, exhaustively researched, thoughtfully written and impeccably directed by Sofia Coppola who gives us a revisionist portrait of M. Antoinette that is humane, heartfelt and above all measured and compassionate. There is no doubt who is in charge of this huge production and Coppola's obvious tender touch is evident everywhere throughout this film. This "Marie Antoinette" is told from a Marie as a girl perspective: she is very young, she is giddy, very much impatient of the French Court and it's customs, very much into clothes and shoes yet she matures, has children, takes a lover grows wise, becomes the subject of gossip, learns to love Louis and becomes a loving and doting mother. This is a fully fleshed out role of a victim, really: a victim of politics, of circumstances beyond her control. At the center of this film is the tragic, sad and revelatory Marie of Kirsten Dunst. Dunst's Marie is the outsider, reviled by the French court (called "L'Autrichienne" by most...the Austrian *itch), lost and 14 when she first arrives in France, literally stripped of everything Austrian, Dunst navigates this difficult role with ease. But this is not a surface performance...not at all. Dunst digs deep and reveals all the nuances, all the insecurities, all the strengths of one of the most hated women in all of history. Dunst plays Marie from her gut and she leaves her blood as well as her tears on the celluloid. Do not be swayed or fooled by the naysayers: this is a towering performance of the first order. Coppola is getting a lot of bad press or her use of 80's music on the soundtrack (Bow Wow Wow, Gang of 4, The Cure) but she has so far in her two previous films ("The Virgin Suicides" and "Lost in Translation") proven to be nothing if not a populist, a product of her environment, a lover of popular culture. In "M.A." the music serves the story effectively by blasting away and preventing any cobwebs from growing on what could have been a stodgy Historical drama. Though Coppola will not be beheaded for making this wonderful film, it is apparent that most people just don't get "it." With all that said the fact remains: "Marie Antoinette" contains one of the most beautiful images ever committed to film: Marie in a carriage, having been forced out of Versailles, deep sadness in her face, clutching her children and holding Louis's hand, the camera pointed out at the grounds of Versailles, she poignantly says "Goodbye" to the only place she can claim as home...as the carriage takes her family to Oblivion. Comments (3) | Was this review helpful to you? (Report this)
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