Brilliant

Rating: 10/10 (21 October 2006)

Marie Antionette (Coppola 2006) Painting the Habsburg Marie Antoinette in a sympathetic light is a daunting task. For that matter a favorable portrait of any pre-WW1 Monarch, discounting Elizabeth I or perhaps her father, generally draws criticism. This is especially true when said piece is shown in that Monarch's home realm.
It should be no surprise the early controversy of Coppola's Marie-Antoinette would be met with strong reaction in France, given Coppola's presentation (though I know it has equally been met with praise.) History has largely taken the stance Marie-Antoinette was a shallow creature who brought on her own destruction, though noting her actions once arrested were dignified.
Rather than compare Coppola's work to another film, I would instead compare it to Velazquez's masterpiece The Infanta Maria-Theresa (another Habsburg joined in Royal marriage to the Bourbons.)
Velzaquez was the court painter for the Spanish Habsburg's and this work was commissioned to present to potential suitors, namely the French Dauphin the future Louis XIV of France. One can see the how Velazquez highlights poor Maria-Theresa's (few) attributes, yet cleverly retains her homely features. However it is in her eyes we see the sadness, perhaps the young Infanta understands her position in life - to breed a royal heir in some foreign court.
I liken Coppola's Antoinette to this portrait. As I have called Velazquez's work a masterpiece, it may very well be after further reflection I call Anoinette a masterpiece.
Kirsten Dunst is well cast as Antoinette and carries the film throughout. It is not a baity role, rather complexly subtle (and IMHO difficult to carry off.) Coppola does not turn this into a political piece, instead certain matters which help discourage the Queen of France's popularity are "mentioned." The unpopular alliance with Austria, the length of time for an heir, the beginning of the Austro-Prussian-Russian partion of Poland, spending, gossip (etc.) These matters as well as the sumptuous sets and props are mainly background. Coppola's focus is on Antoinette's coming of age.
The supporting players are backdrops as well, still several are given an opportunity to shine. Marianne Faithful is wonderful as the Austrian Empress Maria-Theresa, Steve Coogan is excellent as Ambassador Mercy, and Asia Argento shines as the Madame du Barry. Jason Schwartzman, Judy Davis, Mary Nighy, Rip Torn, and Danny Huston also deliver.
My opinion is Coppola had a clear vision of what she wanted to present and nails it. :rock on: Easily one of my favorite works of recent years.