Marie-Antoinette (movie, 2006)

Synopsis

Marie Antoinette , aged fourteen, leaves Austria for France . His marriage to the Dauphin , Louis-Auguste , sealed the alliance between the two countries. Abandoned by her young husband, who prefers hunting with hounds , she takes refuge in frivolities with the princess of Lamballe and the Duchesse de Polignac . After the birth of a first child , Marie Antoinette flees the rigidity of the label and moved to the small Trianon , where she receives her friends. The court of Versaillesis humiliated, but the people are hungry and the revolution roars and begins to break into the Palace of Versailles. The family then decides to leave the castle.

Technical sheet

• Title: Marie-Antoinette
• Director: Sofia Coppola
• Scenario: Sofia Coppola, based on the work of Antonia Fraser
• 1 ^st assistant director: Christophe Cheysson
• Director of 2 ^E team: Roman Coppola
• General Manager: Martin Jaubert
• Director of Photography: Lance Acord
• Sound engineer: Richard Beggs
• Costume Designer: Milena Canonero
• Casting Director: Antoinette Boulat , Karen Lindsay-Stewart
• Art Director: Anne Seibel
• Script: Eva Z. Cabrera
• Editor: Sarah Flack
• Production Designer: KK Barrett
• Decorator: Véronique Mélery
• Still Photographer: Leigh Johnson
• Music: Brian Reitzell
• Consultants: Evelyne Lever , Jacques Charles-Gaffiot
• Production Manager: Christine Raspillère
• Executive Producers: Francis Ford Coppola , Paul Rassam , Fred Roos , Matthew Tolmach
• Co-producer: Callum Greene
• Producers: Sofia Coppola , Ross Katz
• Production: American Zoetrope
• Distribution: Pathé Distribution
• Budget: $ 40,000,000
• Boxing Office: $ 60,917,189
• Genre: Historical , dramatic comedy
• Duration: 123 minutes
• Release date : May 24 , 2006

Distribution

• Kirsten Dunst (VF: Chloé Berthier , VQ: Aline Pinsonneault ) : Marie-Antoinette
• Jason Schwartzman (VF: Emmanuel Guttierez , VQ: Philippe Martin ) : Louis XVI
• Judy Davis (VF: Sophie Deschaumes , VQ: Diane Arcand ) : The Countess of Noailles
• Steve Coogan (VF: Laurent Montel , VQ: Daniel Picard ) : Ambassador Mercy
• Rip Torn (VF: Michel Fortin , VQ: Manuel Tadros ) : Louis XV
• Rose Byrne (VF: Agathe of La Boulaye , VQ: Violette Chauveau ) : the Duchesse de Polignac
• Asia Argento (VF: Olivia Dalric , VQ: Pascale Montreuil ) : The Countess of Barry
• Molly Shannon (VF: Gaëlle Hausermann , VQ: Valérie Gagné ) : Aunt Victoire
• Shirley Henderson (VQ: Mélanie Laberge ) : Aunt Sophie
• Danny Huston (VF: Philippe Vincent ) : The Emperor Joseph
• Marianne Faithfull (YV: Yvette Petit , VQ: Elizabeth Chouvalidze ) : Maria Theresa of Austria
• Jamie Dornan (VF: Jean-Christophe Laurier ) : Count Fersen
• Tom Hardy : Raumont
• Al Weaver : the Count of Artois
• Mary Nighy : Princess of Lamballe
• Sebastian Armesto : the count of Provence
• Io Bottoms : a lady in the company
• Céline Sallette : a lady in the company
• Aurore Clément (VF: herself ) : the Duchess of Chartres
• Guillaume Gallienne (VF: himself ) : Count Vergennes
• Jean-Christophe Bouvet : the Duke of Choiseul
• James Lance : Leonard
• Mathieu Amalric : a man at the masked ball
• André Oumansky : Cardinal Charles Antoine of La Roche-Aymon
• Jean-Paul Scarpitta : Baron Scarpitta
• René Lucien Rolland: the archbishop
• Clémentine Poidatz (VF: herself ) : the Countess of Provence
• Camille Miceli: the Grand Chambellan
• Paul Fortune: The Duke Fortune
• Natasha Fraser-Cavassoni: Countess of Cavazzoni
• Katrine Boorman : the English Duchess
• Sarah Adler : the Countess of Artois
• Jean-Marc Stehlé : Dr. Joseph-Marie-François de Lassone
• Francis Leplay : Doctor Delivery Provence
• Carlo Brandt : the castle gardener
• Scali Delpeyrat : the doctor giving birth
• Dominic Gould : a count

Production

Filming Locations

Filming is partly done at the Palace of Versailles , Monday and night so as not to disrupt visits. The privatization of the place cost 300 000 euros ² and presents no new place in a film ³ .

Filming takes place in the chapel of the Palace of Versailles , the Salon of Hercules , the Hall of Mirrors and the Salon de la Paix , the Queen’s staircase , the galleries of Pierre du Nord and Midi, the low gallery , as well as the Queen’s Little Theater for Interiors and the Marble Court , the hamlet of the Queen , around the Petit Trianon and the French Pavilion for exteriors, complemented by catches made at the windows and balconies of the King’s Chamber , the Porcelain Showand the central window of the Battles Gallery . The garden and the park are also present ³ .

The shooting is also done in other castles: the castle of Millemont , the castle of Champs-sur-Marne ^4 , 5 , the castle of Vaux-le-Vicomte , the castle of Dampierre and the castle of Pontchartrain . Other places are used, notably the Soubise ⁶ hotel , headquarters of the national archives ; the Hotel de Behague , headquarters of the Romanian Embassy in France ; the Garnier palace ; the Opera-Comique and the Golden Gallery of Toulouse hotel, headquarters of the Banque de France ⁷

Some parts unsuitable for filming, including the small apartment of the queen and the queen bedroom , are restored to the studios of Bry-sur-Marne ⁷ .

Soundtrack

The film’s soundtrack mixes new wave registers (with groups from the 1980s , such as Bow Wow Wow , Siouxsie and the Banshees , or New Order ) and ” classical ” ( baroque ), including Vivaldi and Rameau . Some newer groups also appear, such as Air and The Strokes . The link between the ages is finally realized by the presence of contemporary music artists , such as Dustin O’Halloran and Aphex Twin. The teaser and movie trailer were accompanied by songs from the New Order group ( Age of consent and Ceremony ).

This anachronism deliberated is, according to the director, in line with teenage characters ⁸ .

The first air of opera visible in the film, after which Marie-Antoinette encourages the audience to applaud, is “the Air of Madness” (“To the languor of Apollo Daphne refused …”), the Opera Platée by Jean-Philippe Rameau ( act II , scene 5 ).

List of Titles ⁹

Disc 1

1. Hong Kong Garden (orchestral intro) – Siouxsie and the Banshees / Reitzell
2. Aphrodisiac – Bow Wow Wow
3. What Ever Happened – The Strokes
4. Pulling our Weight – The Radio Dept .
5. Ceremony – Ian Curtis / New Order
6. Natural’s Not in It – Gang of Four
7. I Want Candy ( Remix Kevin Shields ) – Bow Wow Wow
8. Kings of the Wild Frontier – Adam and the Ants
9. Concerto in G major for strings and continuo RV 151, Alla rustica – Antonio Vivaldi / Reitzell
10. The Melody of a Fallen Tree – Windsor for the Derby
11. I Do not Like It Like This – The Radio Dept
12. Plainsong – The Cure

Disc 2

1. Intro Versailles – Beggs / Reitzell
2. Jynweythek ylow – Aphex Twin
3. Opus 17 – Dustin O’Halloran
4. Il secondo giorno (instrumental) – Air
5. Keen On Boys – The Radio Dept .
6. Opus 23 – Dustin O’Halloran
7. The mysterious barricades – François Couperin / Reitzell
8. Rush In Fools (Remix Kevin Shields) – Johnny Mercer / Bow Wow Wow
9. April 14th – Aphex Twin
10. K. 213 ¹⁰ – Domenico Scarlatti / Reitzell
11. Tommib help buss – Squarepusher
12. Sad primers, pale torches ¹¹ – Jean-Philippe Rameau / Les Arts Florissants
13. Opus 36 – Dustin O’Halloran
14. All Cats Are Gray – The Cure

Home

Home Review

Beautiful images and anachronisms

According to the historian Jean Tulard , professor at the Sorbonne and specialist in the Revolution , “it is Versailles sauce Hollywood” ( Le Figaro , August 14, 2010): “Tour in the castle, the work dazzles with a deployment of wigs, fans and pastries, a symphony of colors, from candy to dusky black, a music in which Rameau rubs shoulders with modern rhythms, masking some gross errors and voluntary anachronisms. Kirsten Dunst portrays a mischievous and mischievous Marie-Antoinette ¹² . ”

“The film is far from the historical reality” with a “Marie Antoinette revised and corrected by Hollywood” according to the historian and specialist Marie Antoinette, Evelyn Lever , Sofia Coppola first consulted: “She then does her job as she wished … and her work is far from historical reality. ” ” Sofia Coppola and I do not do the same job. She is a designer. She has her own vision of Marie Antoinette ¹³ . ”

A beautiful show but without depth

According to Score ¹⁴ the film is “A special issue of Vogue devoted to the scenes of Versailles. ”

Évelyne Lever regrets the insistence on the frivolity of the first years of the queen and that the character does not follow any psychological progression between the beginning and the end of the film between 1770 and 1789: “the Marie Antoinette of the film is the same of 15 at age 33 ¹³ . ” ” Marie Antoinette was for several years a frivolous woman, but she turned to Versailles and it does not appear in the film. It is a Marie Antoinette revised and corrected by Hollywood. In reality it did not spend his time eating pastries and drinking champagne ¹³ ! ”

While all critics are unanimous in highlighting the beauty of the images of Versailles, ¹⁴ several evoke a film more focused on “adolescence” and those emanating from historians intersect on the inability of the director to represent mentalities and a world far removed from the American world other than by clichés, criticism all the more evident especially “in comparison with other historical films such as Barry Lyndon , The Night of Varennes , Dangerous Liaisons , The Madness of King George …” Because according she, “the directors of these films, they were impregnated with the culture of the time that they evoked¹³ . ”

Virgin Suicides inspires the vision of Versailles ( Le Monde )

A reflection also made by Le Monde that speaks of a movie “dreamed by a Miss California, where are orchestrated gossip playground” and “some clips” , also made by Paris Match that “the very bold Sofia Coppola interprets History with such freedom that she escapes the gravity of the reconstruction to offer us a truly original neo-Romantic experience. ”

After the night of love with Louis XVI , “in the following plan, we see Kirsten Dunst smile on the lips lie in the grass and echo Virgin Suicide where she was left alone on the lawn of a stadium after a night of love. “This direct link to his first film is a clue, not of the modernity of the subject treated in Marie-Antoinette, but rather of its proximity  ” ¹⁵ .

“Between nostalgia and hangover, Marie-Antoinette is a look at this youth passed too quickly (like a party at Versailles), with the painful feeling of having lost the most precious. And thinking back to this scene of A little princess , Alfonso Cuaron’s film for midnits , where the young Sara exclaims that “all girls are princesses” we say that the talent of Sofia Coppola is to make Queens. “

– David Honnorat, http://www.findeseance.com/Tout-d-une-reine  [ archive ]

“Kitsch and rococo” according to Le Monde that says Sofia Coppola: “The filmmaker is interested in the emancipation of this noble to decadent wigs at which it lends aspirations teenager ¹⁵ . ”

Distinctions

• National Education Award 2006
• Oscar for the best costume design 2007

Around the film

• In a scene where Marie Antoinette’s pair of shoes (created by Manolo Blahnik ) follow one another , a pair of Converse is visible in the background.
• Sofia Coppola appealed to Marc Meneau for the making of all the cakes and pastries in film ¹⁶ , except for the macaroons provided by Ladurée .
• A reference to the famous photo art of Guy Bourdin , also present in the video of Madonna Hollywood , directed by Mondino ^{[precision needed]} .
• Jason Schwartzman , who plays Louis XVI, is the cousin of director Sofia Coppola.
• Jean-Benoît Dunckel and Nicolas Godin , from the Air group , appear twice ^{[ ref.  desired]} .
• Many fashion personalities are present including Victoire de Castellane.
• The members of the Phoenix group appear, playing around Marie-Antoinette at the small Trianon .

Notes and references

Bibliography

• Annie Duprat , “The Splinters of a Queen”  [ archive ] , Historical Annals of the French Revolution , No. 347, January-March 2007.
• Pascal Dupuy, “A Queen in the Movies”  [ archive ] , Historical Annals of the French Revolution , no. 347, January-March 2007.
• (in) Christina Lane and Nicole Richter, “The Feminist Poetics of Sophia Coppola: Spectacle and Self-Consciousness in Marie Antoinette (2006)”, in Hilary Radner and Rebecca Stringer, eds., Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema , Routledge / Taylor and Francis, 2012, ( ISBN  9780415895873 , 9780203152416 and 9781136519130 ) p. 189-202.
• Taryn Burgar, “Marie Antoinette: innocent or guilty? An analysis of its filmic representation ”  [ archive ] , The Arbutus Review , Vol 6, No. 1, 2015.