By: debbie lynn elias
Probably best known for her insipid comment, “Let them eat cake”, intoned as the French people were starving around her, one might have a tendency to believe that this insensitive monarch known as Marie Antoinette deserved to have her head cut off and then displayed on a platter to the French Populus. But, thanks to the insightful and joyfully expressive writer/director, Sofia Coppola, we have a new window from which Marie Antoinette’s life unfold – a private side, a personal side, all told with the ever present knowledge that this girl was no more than 15 years of age when betrothed to Louis XVI. What a difference the age makes.
By way of a short history lesson, Marie Antoinette was of Austrian royalty. Sold into a loveless marriage at age 14 to French heir Louis XVI, this was her mother’s way of preserving the family, its wealth and her own designs for fame and fortune. (Obviously this is what started the theory for generations of mothers that they HAD to marry their daughters off and by gosh, it should be for money. Thankfully mine never held that opinion.) At first, Marie was ecstatic. She was young. She was beautiful. She was loaded. Her only purpose in life was to be 14 and have fun. Propriety? Rules? Curfews? Didn’t apply to her. Why if cell phones had been invented, hers would have been the first diamond encrusted with the royal jeweler on speed dial. Like most teens of the 21st century, at age 14, that is a time to dream, to goof off, to chat with your girlfriends about Hollywood hunks and heartthrobs, talk about clothes and boys, and scribble all over your loose-leafed notebooks in school. Dreamy, whimsical and free of responsibility. A cotton-candy colored world filled with champagne, sugar and everything nice. But sadly for Marie, this joyous powder-puff existence didn’t last.
With the passing of her father-in-law, King Louis XV, Louis XVI assumed the throne and Marie’s life changed forever. All of a sudden, there were duties and rules and protocol, not to mention the constant pressure to produce an heir to the throne. Forced into self-perceived servitude, Marie’s life is no longer her own as the rigors and responsibilities of running a kingdom take center stage. And try as she might to be the young carefree child from Austria rolling in the grass with a little Pug dog, it soon becomes clear that Marie Antoinette has become lost in translation from child to adult.
Kirsten Dunst is brilliant as the beautiful Marie Antoinette. With unabashed aplomb, she is larger than life, with an infectious youthful joyous enthusiasm. Her exuberant portrayal of Marie is both refreshing and heartwarming. Dunst excels at establishing the personal battle within the conflicted Marie – her wants and desires versus duty and responsibility and early adulthood. She need make no apologies for fulfilling either Coppola’s vision or for reinterpreting the perceived misconceptions about this historical lady. Jason Schwartzman is no slouch either and assumes the demeanor of Louis XVI with a regal staunchness. His rigidity is the perfect compliment to showcase the dichotomy between the two characters. He also brings and endearing charm to the young king, particularly in the scene where Marie and Louis finally consummate their relationship.
Rip Torn shows yet again his diversity as he takes on the role of King Louis XV exuding a tacit confidence and control in both the character and the character’s control and understanding of the world situation. I am particularly impressed, however, with Judy Davis as Comtesse de Noailles. Her cold bitchiness is all telling as to the relationship between royalty and the upper class and their take on Marie. Davis is perfect. And Asia Argento is the icing on the cake as Madame du Barry. She puts the B in B-e-a-t-c-h. Long under-rated and known primarily for her work in international cinema, for a completely different look at Argento, check her out in “Transylvania” which makes its US debut at the AFI Fest in November. On comparing these two performances alone, Argento shows her diversity, proving to be a formidable force in the casting arena. Not to be overlooked is Molly Shannon’s comical turn as Aunt Victoire who serves as one of Marie’s ladies-in-waiting.
With MARIE ANTOINETTE, Sofia Coppola proves that she is no flash in the pan and that “Lost in Translation” was no fluke. (Quite frankly, I prefer Sofia’s unique visually expressive perspectives in film to those of her father Francis Ford Coppola.) Assuming the daunting task of putting a fresh spin on historical figures and going behind the mask without totally decimating history is never easy, and Coppola does it beautifully. With what is becoming her signature heroine dreamscape perspective, the story bounds along keeping in tempo with Marie’s mood. Upbeat and fast-paced when Marie is happy and carefree; slower, more methodical and even more respectful of history, when responsibility and adulthood rear their ugly heads. Taking Marie through age 30, Coppola stays focused on Marie’s emotions and emotional viewpoint, covering the gamut of everything from her youthful elan of applauding at a “concert” to an affair with an oh-so-handsome military man to the disappointment and frustration with her sexually disinterested royal husband. Although part of the film, little time is spent on the atrocities being suffered by the French people during Louis’ reign, which says much for Coppola’s ability to stay on point and in focus as to the centerpiece of the film. Marie is a kid in a candy store much like Coppola is with her filmmaking. She knows what she wants and goes for it.
Visually the film is beyond reproach. Glorified opulence at its finest with a cotton-candy colored sugar coating. Absolutely beautiful. From Marie’s gilt arrival in 18th Century France and her stripping of all that is Austrian to her immersion in the sensual decadence that her newfound wealth and status affords her, we are treated to a series of visual vignettes set appropriately enough to the devil-may-care tunes and ‘tudes of the 1980’s.
Coppola reteams with “Lost In Translation” production designer Keith Barrett and brings in Veronique Merlery as set decorator. Cinematographer Lance Accord also re-ups with Coppola, providing a fulfilling and mesmerizing visual whimsy that is steeped in Coppola’s vision. Crucial to the beauty of this film is Anne Seibel’s art direction and the exquisite costuming of Milena Canonero. Look for Oscar to come knocking at their doors in February!
And of course, I would be remiss not to mention the outstanding soundtrack. Taking a cue from another successful period piece set to modern music, (A Knight’s Tale), Coppola compliments her visual excellence with everything from ‘80’s bands Siouxsie & the Banshees to The Cure to New Order and then the classical composer, Rameau. The result is magnificent and makes this entire experience one to satiate all of the senses.
MAIRE ANTOINETTE is a decadent delight. The heck with eating cake, how about grabbing some Oscar gold!
Marie Antoinette: Kirsten Dunst
Louis XVI: Jason Schwartzman
Louis XV: Rip Torn
Madame du Barry: Asia Argento
Aunt Victorie: Molly Shannon
Written and Directed by Sofia Coppola. Rated PG-13. (123 min)
