Marie Antoinette

Second generation filmmaker Sofia Coppola (daughter of Francis "The Godfather" Ford) has reteamed with Kirsten Dunst, her "Virgin Suicides" muse, to bring us a truly original vision of Marie Antoinette's life story. If you like period pieces, this film has enough eye candy to send you into diabetic shock.


Much has been made of Sofia's use of 80's New Wave music in an otherwise faithful period piece. While it adds a refreshing zing to what could have been an otherwise prim and stately affair, it's hardly the jarring distraction you might think it would be. Those expecting a "Moulin Rouge" style anachronistic spectacle are sure to be disappointed.


For the most part, Sofia continues to show the delicate directing style exhibited by her last work, "Lost In Translation". Where other filmmakers beat you over the head with a message, Sofia lets the audience read the actions and expressions of the actors to convey their interior monologues. If you enjoyed last year's overbearing Oscar-stealer, "Crash", I suggest you steer clear of this artful endeavor.


Particularly noteworthy are the interesting casting decisions. Musician Marianne Faithfull as Marie's mother lends an air of gravity and concern that hangs over the first half of the film as Marie unsuccessfully tries to assert her place as wife to the Prince. Woody Allen regular, Judy Davis, unsurprisingly impresses as the strict and immoveable head of household. Saturday Night Live alum, Molly Shannon, manages to tone herself down just enough as a catty member of the royal family. The real scene-stealer, though, is Asia Argento who burns up the screen during her every appearance as the uncouth mistress of the King, the Madame Du Barry.

Even Jason Schwartzman, who I questioned being cast as a male romantic lead Louis XVI, makes perfect sense in the role now that I've actually seen the film. However, the film clearly belongs to Dunst in a role that allows her to struggle against the restraints of responsibility and society. Her portrayal is no Paris Hilton in corset and powdered wigs. Yes, she's a rebel; but she's one with heart and soul.

When the story draws to it's ill-fated conclusion, you truly feel for this girl overwhelmed by events beyond her control. Kirsten manages to mature her character without silly ageing makeup. Instead she conveys her arc through her demeanor. And, don't expect a long bloody finale along the lines of "The Passion Of The Christ". Sofia ends the film on a quiet despondent note that resonates with you for days after the viewing. We all know how it ends and our imaginations can fill in the rest. A lesser filmmaker would have turned the subject matter into a gory horror film. Luckily, we're dealing here with the work of an artist.

Smooches,
Daph