Sofia Coppola’s genius as a filmmaker is showcased in her film Marie Antoinette; a masterpiece that blends popular music, historic locations, and a story thick with the luxury and loneliness of Versailles. Based loosely on the life of Marie Antoinette (Queen of France), the film (written and directed by Coppola) takes a sympathetic look at one of history’s favorite villainesses. Coppola takes on the task of making a bio-pic that isn’t just another film set in the past, while also not intruding on the story with modernity. She succeeds with a film that captures both the time period and the timelessness of her desperation, drunken rock star youth, and utter loneliness. Criticism has come from the lack of historical context or accuracy, but this is not a documentary. Rather it is a piece of art about a lonely girl.
Kirsten Dunst dazzels as the young royal. The film is completely from Marie’s perspective, and Dunst does not disappoint with her subtle portrayal of the Dauphine of France. Most of the film is told without words and Dunst is able to fit into the role convincingly. She plays Marie as a teenager, which is what she was when she arrived in France and married King Louis XVI. She is lonely, given to excess, and tries to woo her husband (knowing full well that everything depends on that). There is no mistaking the pressure on Marie Antoinette to produce an heir to the thrown; her loneliness, her desperation to “inspire” her husband, her diversions in drink and shoping, and her desire to fit in with the catty crowd in the royal court are all perfectly portrayed by Dunst.
Jason Schwartzman is a wonderful choice as her husband King Louis XVI. He is totally sexually uninterested in Marie Antoinette. He would much rather make keys than make love to his wife (much to the dismay of the young woman, who clearly is not secure in her position without a male child). Schwartzman is refreshing as a nerdy sort of king, with a good heart, versus a confident and sexually aggressive royal that blames his wife. Rather, Schwartzman is just completely disinterested. He tries to be kind, but it is clear that this is dysfunctional for both parties.
Obviously, what sets this film apart is the use of modern music such as Adam and the Ants, the Cure, Bow Wow Wow, and the Strokes instead of strictly period music. Personally I was skeptical that I would even like this film due to the music. Not that I don’t enjoy it, but making it work in this type of film is a huge challenge. I was pleasantly surprised to find myself so deeply invested in the story, the visuals, and the sounds that it was not at all jarring for me when modern music was included and furthermore it added a sweet layer of the contemporary to the entire film.
However, it is also the visual splendor of the film that takes your breath away. In making this film, it must be nice to be have Coppola connections. They had unprecedented access to Versailles. You cannot buy sets as lavash as the real thing. There is no comparison. If you want to see more, watch the special features (including the making-of and a humorous “Cribs with Louis XVI”). Additionally, the costumes are divine. It is not surprising that the film won an Academy Award for Best Costume Design.
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