A Life Misunderstood

Rating: 8/10 (17 November 2008)

In Marie Antoinette, Sofia Coppola's latest character exploration delves deep into the mindset of one of the most misunderstood females in history. As this eloquent variation on a period piece progresses, it becomes clear that much of Coppola's own life and torments are projected onto the screen. What we get then, is not a vanity piece by Sofia, but rather an attempt to be understood through the story of another tormented female of her own time's aristocracy. Kirsten Dunst plays the part of Antoinette beautifully; straddling the line between lost teenager, and burdened royalty. She is countered by another of the Coppola's in Louis XVI (Jason Schwartzman), who plays the male version of an overly-burdened youth who is thrust into the golden circle of leading his country far too soon. Its not until the third act comes around and we see the consequences of their actions (or inaction) that we really solidify our identification with Marie, and see the true subtle beauty of this film.
The film opens with a shot of Marie in a tub, surrounded by delicacies, and being pampered, as she turns and gives a defiant look straight into the camera. It is a needed segway from our own realities into the film, as it is a blatant self-reflexive shot, and causes us the viewer to become aware that we are seeing a study into the character of Marie Antoinette, and not a typical period piece or historical epic. There is one other such shot in the film that keeps our minds on this track. We are truly introduced to Marie's life when she is being exchanged over to France to be married to Louie. In the first of many ridiculous rituals, she meets the Comtesse de Noailles (Judy Davis) and is required to exchange all her clothes and possessions for new French clothes and possessions. When she asks if she can keep her dog, the Comtesse replies, "No, but you can have all the French puppies you desire." The scene is followed closely by the bedroom scenes, where Marie learns the strictness and absurdness of French custom; which leaves her naked in front of 10-15 people while they figure out the order and the hierarchy of who gets to put her clothes on. It is here that we start to get the feeling that Marie is stifled with tradition, and must wear the burdens of history, which will eventually wear her identity thin. Her next encumbrance is to bear an heir to the throne as soon as possible. But seeing how her boring and drab husband is too insecure to face his 'male' problems directly, he avoids it and holds off consummating their marriage for years. This not only brings shame to Marie Antoinette's royal Austrian family (who's mother is played to cold perfection by Marianne Faithful) but an increased sense of entrapment, as she takes the brunt of the blame for Louie's difficulty. Her trapped state of affairs, along with the immense burden of helping to lead a country  Louis XV (Rip Torn) dies prematurely of smallpox, - breeds her desire for an outlet. She can't eat alone, (she and Louie eat at the same times everyday in the same seats at the table with 4 or 5 servants standing around them waiting for orders) she can't go out unattended, (she is only allowed to go to official events. She manages to sneak out to a ball one night, but only because it is a masquerade and they can wear masks), and as we see time and time again, she can't even dress herself. This causes her to utilize the only outlet she can; money. She begins to spend exorbitant amounts of money on clothes, parties, food, and anything her whim of the moment desires. But she is not the spoiled party girl of her time, she is a trapped and inexperienced little girl with no real father figure who is thrust into a position based on no qualifications except who she was born to and who she married.
The final act of the film brings the character study together, as we come to realizations about the consequences of her lifestyle, at the same time Marie does. The county is starving, partly due to Louis irresponsibly sending large amounts of funds to help fund America's revolutionary war. When Marie first hears the rumor that she responded to the peasants cries for bread with the quip, "Let them eat cake." we realize the pit of distrust that she has unwittingly dug for herself. It becomes painfully apparent that the country has been a lot more concerned with her life than she has with theirs. In her struggle to find somewhat of an individual identity, she had neglected to help her country hold on to it's own. Just as she probably felt at the time, it seems that out of nowhere, there is an angry mob with pitchforks at her door demanding her head. Marie Antoinette had already passed the point of no return as she addressed the crowd with bow of humility that is met with boos, as is unfortunately too little too late for a starving nation. The last shot of this tragic film comes with a still shot of the royal bedroom, ransacked and destroyed, with birds flying in through the shattered windows. This serves to represent a broken royal system, that not only failed Marie by disallowing her to have something of her own to live by; but also failed its country by thrusting two teenagers who aren't nearly suited or fit to run a country, into power. The tragedy of her life resonates with our own knowledge of how her life ends. We don't need to see the beheading, because the most tragic part of Marie Antoinette  her lonely lost life  has already been shown.