“Marie Antoinette”
Director Sofia Coppola
Columbia Pictures
Marie Antoinette, the storied 19-year-old Queen of France, is
probably most well-known in history classes across the world for
her early and tragic death at the fall of the Versailles court, and
for uttering the careless catchphrase, “Let them eat
cake.”
However, “Lost in Translation” director Sofia
Coppola leaves the trademarks and any conventional historical-film
practices behind in her adaptation of the young queen’s
life.
“Marie Antoinette” chronicles Marie’s arranged
marriage to Louis XVI at age 15 and her subsequent struggles in
Versailles.
While the marriage helps the strained relations between Austria
and France, Marie is left to fight for herself amid talks of an
unhealthy and “unproductive” marriage, isolation and
jealously from women of the court, and the confusion and
unhappiness that can only come with adolescence and
self-discovery.
While most history books simply paint Marie Antoinette as
greedy, self-involved and seemingly oblivious to the troubles of
her people and her country, Coppola’s script explores a much
more multidimensional and humanistic side of the iconic figure.
The lavish parties and extravagant daily court proceedings are
surely important. But it’s Marie’s longing for
happiness, manifesting itself in the arms of a German soldier, and
the intrapersonal and social problems that blossom from her lack of
emotional and physical intimacy with her closed-off husband that
are the true centerpieces of both Antoinette’s and the
movie’s souls.
Kirsten Dunst is good but is far from spectacular as the queen,
and while Jason Schwartzman still manages to leave his signature
mark on Louis XVI, Coppola’s script leaves much to be desired
for his character.
Judy Davis is a standout as the Comtesse de Noailles and Rip
Torn is a daring and fun pick for Louis XV. However, just as in
18th century Versailles, it is the superficial that is key.
The backdrops are breathtaking and a true feat considering the
rarity with which directors are allowed to film in Versailles. The
costumes are wonderful and extremely detail oriented, and while a
rock music soundtrack is a controversial and questionable choice,
the songs blend in quite well with the film’s pace and
especially the elaborate and decadent party scenes. With
Coppola’s vision, a traditional musical score would seem
ill-fitting.
The ending of the film seems rushed but nonetheless,
“Marie Antoinette” is still a treat. As the queen
herself would say, “Let them eat cake.”