Life is a party, right? In "Marie Antoinette," writer-director Sofia Coppola's punk-chic rendition of the notorious French monarch's reign, a party is precisely what life is.
Married off for political objectives rather than love at the age of 14 and stripped of everything pertaining to her Austrian heritage (even her pocket pug, Mops), Marie is wed to the 16-year-old French Dauphin Louis XVI. Shortly thereafter, Marie's place in France is unexpectedly jeopardized, to the distress of her mother and the French court, when her duty to seal the Franco-Austrian alliance by producing an heir becomes exceedingly difficult. As it turns out, Louis is apparently handicapped by a lack of nerves that renders him unable to perform in the bedroom, and seven years pass before Marie finally bears a child.
A great deal of 18th century politics isn't of much concern to Coppola, however, such as the French Revolution and Marie's beheading. Based on Antonia Fraser's biography, the film takes a fresh and unconventional look at the life Marie (Kirsten Dunst, "Elizabethtown"), led in the frothy French court at Versailles. Although political strife is mostly disregarded, what Coppola does present in her film is nonetheless very provoking.
Marie is depicted as swept up in court etiquette and frilly, girly endeavors. The young queen passes the time perhaps feeling isolated and lonely, but still gives herself away to aristocratic pleasures. Much of the film shows Marie fitting new dresses, shoes and wigs with her flamboyant stylist Leonard, hosting late-night gambling parties, enjoying elaborately decorated sweets and, most importantly, enjoying gossip.
While some awkwardly hilarious moments result from Louis' (Jason Schwartzman, "I Heart Huckabees") bedchamber uncertainties, in general the young king comes across as daft and agonizingly dull. The more colorful royal character is King Louis XV, played by Rip Torn ("Dodgeball: A True Underdog Story"), whose vampy mistress Madame Du Barry (Asia Argento) struts around the palace in angry moods among the ladies who disapprove of her.
Early on, Marie makes a remark at the "ridiculous" nature of the nobility's traditions. The response Marie receives from the Comtesse de Noailles (Judy Davis), spoken with all seriousness, is "This, Madame, is Versailles." It is a place where her marriage is a court spectacle (for instance, dozens eagerly look on as the pair lay in bed for the first time) and where gossip is spoken more frequently than politics.
Coppola was granted special permission — a very rare honor — to film scenes within the palace at Versailles. A masterpiece of 17th century French architecture, the palace is complete with 700 rooms, 1,250 fireplaces, 67 staircases, 2,000 windows and 357 mirrors in the famous Gallerie des Glaces. The film dazzles with its show-off of upper-class grandeur and rich design, making each scene artful and attractive.
The theatrical feel of the picture is coupled brilliantly with Milena Canonero's aureate costumes. Dunst herself wore around 60 specially designed gowns, in addition to the shoes created for the film by Spanish designer Manolo Blahnik. "Marie Antoinette" is without a doubt more of an art piece than any of Coppola's previous films.
And yet, although the film is aesthetically pleasing, when the main thread of the narrative is so riddled with time-passing aristocratic events like masquerade balls and dress-fittings, after a while the film seems to dramatically slow down in terms of pace. The majority of the film's dialogue is short bits of ladies gossiping, with shots of Marie either peacefully listening or pretending she doesn't notice.
The acting is top-notch across the board. Even Molly Shannon and Shirley Henderson as gossiping court ladies are enjoyable. Dunst gives a fine portrayal of Marie, generally speaking in a sing-song voice and fluttering about with her extra-tall hairdo. Schwartzman has a goofy air about him as Louis, somehow managing to appear uncomfortable but in control all at once.
Other actors include Marianne Faithfull as Marie's mother, Steve Coogan as Ambassador Mercy, Jamie Dornan as Count Fersen and Danny Huston as Marie's brother, Joseph.
"Marie Antoinette" is flashy in ways that go well beyond the edgy, hot pink titles. Coppola infuses the film with modern-day language that gives the already vastly well-known story a more contemporary feel. We are meant to see Marie as misunderstood, and the film strives to give her a more humanistic nature as wife, mother and friend. The score is also filled with modern beats. Mixed in with the chamber music are the chords of such artists as Gang of Four, Bow Wow Wow and New Order.
"Marie Antoinette" is an enjoyable look at 18th century French court life from the perspective of one of its most controversial queens. Though not paying any attention to the later, more horrific events of Marie's life, the movie focuses on the day-to-day activities of the elite. Coppola's film is, in a word, fun.
Grade: 4 out of 5
