A chocolate box of tastes

Rating: 7/10 (4 January 2007)

If you wanted to learn about the French Revolution, one way might be to stroll down to your local library, rent out a few archaic textbooks and maybe a BBC video documentary. No doubt you will acquire a great deal of knowledge, facts, and figures.
However sometimes you long for being there in the late 18century renaissance; in France, dancing and lounging among Kings and Queens, indulging in the royal and decadent lifestyle. Marie Antoinette offers that eclectic alternative.
Far from the fact, however staying within reach of the truth, Sofia Coppola has crafted a chocolate box of luscious exuberant tastes that look to good enough to eat. However in this film, it's the eyes and ears that do all the tasting.
Based on the book by accomplished historian Antonia Fraser (who also helped oversee the making of the film), Coppola has crafted not so much a retelling of Marie Antoinette's life (or even death) but a slice of paradise during her time as the Queen. Not knowing anything about the Revolution, I decided to "educate" myself on the Cliff's notes of the story. Fraser's story and subsequent documentary was fascinating, at the same time being illuminating. Surprisingly, Fraser who had a large input on the formulation of the film allows Coppola to indulge a fairytale with fancy sweets, dresses and rock music. The effect is a film that is stunning to look at, contains a thin thread of plot but is still entirely believable in context.
Copola's script is economically sparse. There are long moments without dialogue; most of it is gossip and a form of recitative in between the scenes. The film relies on real stars - the direction, costumes, and art decoration - to tell the story. It covers the period in Marie Antoinette's life during which she inherits the crown, marries the king and attempts to conceive an heir to the throne.
Marie Antoinette played by Kisrten Dunst captures the essence of a young princess, enjoying life at her prime - a most active and beautiful woman. Her soft and vibrant portrayal is well complemented by the pale lighting and ethereal colours of the palace. She plays with aptitude each scene of loss with as much honesty and pathos as she gives her dances and balls a joie-de-vivre.
The supporting cast is an amalgamation of actors from different generations and countries - the result is a medley of American, English and French accents. While it sounds anachronistic, it is also refreshing in it's diversity. The bit players are all worth their salt from Judy Davis' staunch allegiance to Rose Byrne's vibrant festivity and the Ambassador Mercy's honest forthrightness.
With a smashing pop soundtrack and exuberant visuals, the film will most likely please the young adult female demographic. This theme of female youth is highlighted throughout the film. Several scenes are dedicated to trying on pairs after pairs of shoes and fashioning hairstyles several feet high all while indulging on pastries that deserve to be in an art gallery. Despite not being of the target audience, I still was able to be swept away by the tremendous artistry of the costumes, decor, dresses and shoes; the exuberant hairstyles and clothing.
Considering the young female subject of the film, it makes at lot of sense to guide the film in this direction. If it were a modern day retelling, the story might fashion itself as girl inherits money, goes shopping after which she is recovered; finds boy, gets married and starts family. Therefore, it is a surprising change of pace when we are treating to lengthy almost silent dreamlike scenes of Marie-Antoinette drifting through the palace, dozing in the gardens, and strolling through the Petit Trianon.
Art decorators Pierre Duboisberranger and Anne Seibeldeserve, and Costume designer Milena Canonero deserve much credit for their contributions in the film which scream attention, almost outclassing everything else in the frame. Filmed entirely on location in France and in the Versailles palace, they make full use of the gardens and the surrounding environments. They have created an palette of pastels and creams in a rich fantasy world.
Also deserving a mention is the cinematographer Lance Acord. He served as cinematographer on Coppola's previous film (Lost In Translation) and also for director Spike Jonze, and has made the most of the decadent architecture and fabrics of 18th century France.
Like it's subject Marie-Antoinette is an attractive piece, alluring in it's extravagance and bewitching in visage. It's effect on you is not unlike the glazed pastries that Marie-Antoinette consumes during the film - gorgeous to look at, however not much but air inside.
Coppola has exquisitely constructed an dreamlike piece on the of eve the French Revolution so that we might have our own Petit Trianon for a few hours.