“Marie Antoinette”: Good Feel, No Context | Historical Histrionics
Sofia Coppola's film was booed at Cannes but has become a cult In fact, the relationship between Louis and Marie Antoinette is one of the at the end, once the family has been dragged off by the revolutionary mob. Marie Antoinette (Cannes ) of these nations in her marriage to the young Dauphin Louis-Auguste, played by Yet however mannered this film is, the director carries off with some poise her decision to end on nothing. French experts unravel mystery content of Marie-Antoinette's secret love to be revealed in the coming months reads: “I will end [this letter] but not the nature of Marie Antoinette and Fersen's relationship – whether it was.
When she visited the opera and insist everyone applaud, the did so a moment shown in the movie. She was on display for everyone to see and people watched her and wrote numerous accounts of her grace, her charm, her beauty.
I think the movie missed out on an opportunity to really display this popularity, how Marie Antoinette moved among the people and how much they loved her.
She attended opera often and threw money and effort into her favorite composer.
Marie Antoinette () - Plot Summary - IMDb
At one performance she attended the show was held up for fifteen minutes while the people cried out their adoration of her. This would serve a stark contrast to later opinion. A combination of royal spending and the common libels at the time — essentially little comics that would show the Queen in pornographic and despicable situations — began take away the glow of popularity.
She became the symbol for everything that was wrong with the country and a good deal of the hatred which was directed at the royalty as a whole found its way to direct hatred for the Queen.
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Her appearance and manners, which were carefully cultivated to be proper and noble, began to appear haughty. People thought that Marie Antoinette was laughing at them and looking down on them while spending the country into ruin. Look at the Queen, holding a flower!
“Marie Antoinette”: Good Feel, No Context
Why must she continue to torment us!? This would lead to the eventual storming at Versailles a tame version is shown at the end of the film and her imprisonment and execution. Even without showing the later stages of the revolution, the change in popularity of Marie Antoinette had a lot to do with the changing political situation in France at the time. It would have really helped give the mob at the end more significance.
Most people associate this phrase with Marie Antoinette and I think even a lot of those people know that she never said that. A woman who had compassion for the people and at least some knowledge of poverty would never say anything so mindless.
There are records of this line being tied to other French women before Antoinette, and it is likely just a tidy piece of propaganda to use whenever the French people were having a hard time buying bread.
Which, it seems, was the case often. The other point this quote highlights is really how the public opinion turned on Marie Antoinette, to think that she was so callous and foolish to think that they could eat pastries if they had no bread.
It was part of the campaign to dehumanize her and make her seem like someone who had no empathy or sympathy.
Marie Antoinette ( film) - Wikipedia
I think this quote is probably one of the reasons modern perceptions of Marie Antoinette might still be that she was a complete airhead and should have pulled herself together.
The cake is a lie. First, a daughter, Maria Teresa in Then, a son, Louis Joseph in Another son, Louis Charles, in She did have a child die, as demonstrated in the movie, but they left out the third child who did survive. She was the sort of woman who could be a full-time nanny or a daycare provider and love every minute of it. They were a huge part of her life, which makes sense considering that she waited eight years after she and Louis married to finally have one.
It was a long and arduous journey for the couple to finally have complete sex according to the time and all that time Marie Antoinette really was in a precarious position.
With no heir, her position was basically worthless. What do you mean I kiss you on the mouth? Then where does this go? The story of her children is rather tragic. The oldest son, Louis Joseph, fell incredibly ill and died before his eighth birthday after staying basically in a country retreat away from court for several years.
With the death of her oldest son and the fact that her daughter seemed to prefer Louis led Marie Antoinette to take solace in her younger son, Louis Charles. After they were forced to live in captivity for years, Marie Antoinette would be separated from her son and the guards in charge of him would not only ply him with alcohol he was about 7 at the time but lead him to give false testimonies about the abuse he received at the hands of his mother and aunt.
Maria Teresa lived into adulthood and even got married but it would probably be too charitable to say that she led a happy life. Count Fersen and the supposed affair It would be fair to say that historians are still debating whether or not Marie Antoinette had a sexual affair with the charming Swedish soldier Count Fersen.
Marie-Antoinette's torrid affair with Swedish count revealed in decoded letters
It would also be fair to say that the evidence looks pretty convincing that they probably did have a relationship. The shortest version of it works like this: Fersen kept a good deal of personal correspondence and journals.
It seems that he nicknamed the Queen as Josephine in his notes, although at times he is probably talking about a different Josephine. Several times he makes notes that he spent the night with her, using the same language that he did when he wanted to indicate that he had spent the night with a woman and bedded her. Fersen had a lot of affairs with a lot of women and probably knew how to not get them pregnant. Furthermore, it would be unfair to claim that Marie Antoinette did not love her husband.
Despite this depth of feeling for Fersen she remained completely dutiful to her husband and stuck with them through threat of death even when people advised her to leave.
This man seduced countless women. I'm guessing it's the eyebrows. He assisted the royal family in their attempted escape from the country. This plotline was not handled with a good deal of grace, particularly the blatant disregard for using any kind of discretion.
Female Friendships From a young age, Marie Antoinette knew the value of female friendships. She was close to her older sister, Charlotte, and when she got to France, Antoinette formed close relationships with other women. Keeping these friends close would eventually get Marie Antoinette blasted in the libels as having lesbian relationships with these women. This fact is unlikely. Close friendships worked differently than they do in the modern day.
The solution to find something you can use as a confidant and draw them close to you. These intense close and personal friendships would help carry Marie Antoinette through. Believe it or not, most female friendships are not based around a mutual love of shoes. The movie shows this to a degree. The Queen is often seen lounging with her friends, but I wished their names would have been said more often.
The Duchesse de Polignac made a stronger impression because her character was more outspoken, but the Princess Lamballe made almost no impression at all. I can barely remember her and I saw the movie two days ago. It would have been nice to see them more fleshed out. Elizabeth was devoted to her brother and to her sister-in-law and there was a very real affection between them.
This would have helped serve to get Louis some more humanity his awkwardness is brilliant but does start to wear and get Marie Antoinette another female companion. I know that the movie steers away from the actual violent events of the Revolution in France, but knowing the Princess Lamballe better gives her fate more emotional weight.
After she was killed by a mob for the crime of being friends with Marie Antoinette they actually put her head on a pike and paraded it outside the tower were the Queen was being kept in hopes that she would be completely demoralized and distraught by it. Even if you consider a monarchy outdated, that kind of violence paints a lot of the French Revolution and generates a good deal of sympathy for members for the royal family.
What happened in the end The family would get passed around to various places where they were kept under a strict watch.
As the movie shows, they sent away most of their friends so they could escape the worst of it. Louis also packed up his aunts and sent them away. His sister Elizabeth stayed with them. Their time being kept under watch was not always unpleasant — they had food, they could spend time together, at some points they had open courtyards where they could take walks.
However, the fact that they were essentially imprisoned would put a damper on any easy feelings and as time wore on it became more apparent that the feelings of the people were more violent than anything. The family finally decided they needed to escape France if they wanted to avoid death. They made plans to leave where they were being held in Paris and escape to Montmedy.
They set up an intricate plan which consisted of changing carriages at various locations and having loyal soldiers look over their progress. Unfortunately, pretty much everything went wrong.
Progress was delayed so that the men waiting for them thought that they were not coming. Critics and audiences who chastised Coppola for failing to show the larger picture beyond the famous palace seemed to miss the point entirely: Frustration with the nobles' inability to see beyond the gilded walls of Versailles is exactly what we should be feeling.
Antoinette's early suggestions that she and her husband — a standoffish stranger with no real interest in her, played by Jason Schwartzman — might go to Paris to see the opera are shot down and forgotten. Antoinette is constantly reminded that her very station depends upon becoming pregnant by that man, who responds to her attempts at flirtation with a chummy pat on the hand.
We are trapped here because she is trapped here and because the attentions of those in charge were trapped there, shackled to Schwartzman's milquetoast boy-king, with his bad haircut and lock-making obsession. Viewers feel not only Marie Antoinette's frustration but also the despondency that must've hung over the people of France at that time: They're impotent in the face of indulgence and incompetence.
Which is not to say that Marie Antoinette is a claustrophobic film — quite the opposite. Although it's cliche to remark that any single frame of the film might be a painting, it's worth acknowledging again just how beautiful Marie Antoinette actually is.
Between sun-dappled gardens and floral wallpaper and pastries as pretty as the costumes on the women enjoying them, Coppola expertly depicts Versailles and all of its splendor without making the film ever seem stuffy or overly formal.
The post-punk aesthetic informs not only the music but also the film's instantly recognizable poster and title card: At least it was at the Nitehawk, when every mumbled line or awkward hand gesture from Schwartzman elicited actual guffaws from the audience, as we enjoyed our cocktails. Oh, we were also drinking cocktails. Did I not mention that the Nitehawk screening was complemented by a six-course dinner? At the dine-in theater's bi-monthly Film Feast screenings, a movie, usually a cult classic, is paired with a series of custom-designed dishes and drinks themed around the picture.
Each dish is inspired by a particular scene, and the Nitehawk staff operate like magicians, dashing between rows — never blocking a view — and making the next course appear right as its corresponding moment appeared on screen.
So that is how, when Marie Antoinette awoke her first morning in Versailles to its elaborate ceremonies and formality, we in the audience ate BeauSolieil oysters with an asparagus and heirloom tomato mignonette, paired with an acidic cocktail of Laurent-Perrier Brut champagne, Owney's rum and grapefruit tincture.
For the queen's tone-deaf retreat to play farm girl at the Petit Trianon, we ate alp blossom cheese from Manhattan's Murray's Cheese with fresh herbs and an en plein air panna cotta; we sipped a clarified milk punch with more Owney's rum, Mathilde peche liqueur, honey, lemon, orange blossom and whey. That is also, in my opinion, how almost every movie should be enjoyed.
Perhaps it's not a surprise that anyone expecting a relatively straightforward historical drama about the political and economic factors that led to the French Revolution was put off by Marie Antoinette. It is a small, internal film presented on a massive set. It is a shamelessly female film — in which power is communicated through pregnancies, fashion and gossip, the only areas in which wealthy women at the time had any power.
The men's discussions of politics and money are all relegated to small tongue-in-cheek moments, all mocking the king's indecisive and timid leadership. The film goes no further and no deeper than Marie Antoinette likely did herself. You are drawn in, like she was, to the indulgent world of visual excess.