Director: Sophia Coppola
Format: theater
Starring: Kirsten Dunst, Jason Schwartzman, Asia Argento,
I first became aware of Sophia Coppola as the director of The Virgin Suicides. Shortly before the movie was released in 1999, I had finished the novel of the same name by Jeffrey Eugenides. I was very pleased with Sophia’s remarkable adaptation of the book. When Lost in Translation came out in 2003, I was starting to get the idea that the young Coppola might be a good director to keep an eye on. So, finally, Marie Antoinette appeared in theaters and some friends and I made it a point to go. It looked refreshing, offbeat, and it had the Sophia Coppola stamp (she wrote and produced this film as well). Kirsten Dunst was another draw for me and I was looking forward to the modern soundtrack.
As you may have guessed from the title, this movie is about the life of the infamous Queen of France in the 18th Century. It covers the period from her marriage to Louis XVI at the age of 14 until The Fall of Versailles in 1789. In the beginning of the film, Marie (Kirsten Dunst), in the process of her transition from Austrian archduchess to French royalty, is stripped of her possessions, her clothing and even her dog, as a symbol of her new loyalty to France. That event marks the beginning of her discontent. She is married off to the young Louis (Jason Schwartzman) who shows no signs at all of wishing to consummate their union and therefore denying Marie’s hopes of validating her position by bearing a royal son. She is despised by the king’s consort, Cometesse du Barry (Asia Argento), scolded by her mother, and embarrassed daily by being forced to dress in front of an audience. The only things that seem to lift her from depression are gambling, partying and shopping, the three of which she does with fabulous indulgence.
Kirsten Dunst seems to be a favorite of Sophia Coppola’s. She played the lead character in The Virgin Suicides as well, and did an excellent job. However, in Marie Antoinette, she failed to entice any strong feelings from me. I couldn’t bring myself to feel sorry for the moping teenage queen, especially because she didn’t seem to be trying to do much for her situation. Likewise, I was disappointed by Jason Schwartzman’s performance. He usually brings so much personality to a character. Seeing him as Louis XVI was, well, boring in comparison to his previous roles in movies like I Heart Huckabees and Rushmore.
Part of what makes Marie Antoinette different from other films that focus on this particular time period, is that it has a modern soundtrack. Amidst montages of fancy shoes and elaborate cakes you’ll hear music from bands like Aphex Twin, Air, Siouxsie and the Banshees, The Cure, and The Strokes. Sophia is not the first director to use this technique, of course. Brian Helgeland did something similar with A Knight’s Tale in 2001. The wardrobes in Marie Antoinette were amazing enough to earn an Oscar for Best Achievement in Costume Design at the 2007 awards. The set designs are likewise lavish and impressive. The colors used in the film are interesting. Most of the palette is a dusty pink or beige.
Marie Antoinette is not a terrible film and is even fun in moments. However, I found it terribly lukewarm and mediocre overall. I didn’t care much for the characters and didn’t feel sympathy where sympathy was clearly solicited. Sure, it was offbeat and different, but it really takes more to entertain me than excessive spending. In comparison to Sophia Coppolla’s previous films, this one was a real disappointment.
Overall Rating: 2 ½
Hottie Rating: 3 (Dunst is pretty and her soldier is a hottie too)
Alternate Viewing: The Virgin Suicides
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