Despite having a great interest in the late 18th century, I have not found many films that strike my particular chords. 'Les adieux à la reine' is one of them, and it does so mainly for two reasons: first, because it nicely shows us the dark underbelly of the lavish gold-plated upper rooms of the French royal palace at Versailles, exposing the system that contradicted the later observation by that inveterate revolutionary Thomas Jefferson, who was the American minister to France from 1785 to 1789, that: 'the mass of mankind has not been born with saddles on their backs, nor a favored few booted and spurred, ready to ride them legitimately, by the grace of God.' Second, because it shows us that for all their faults, the royals and their noble entourage where people too. People who did not voluntarily run for office, who loved their children and friends as much as anyone else would, and whose fears of what might be done to their loved ones and themselves drove them to nightmares and tears. Even if it was true that 'Louis must die that the country may live', as that great butcherer of men, Maximilien Robespierre, later remarked, the violent character of the French Revolution must surely have done great damage to their proclaimed ideals as well.
Some have criticized the two main actresses for appearing stiff and lacking spontaneity; and I can certainly see where that is coming from, but rather than seeing this as a negative, I think it works to illustrate the strict protocols and the ever present divides of class and status that permeate life at Versailles. With one notable exception, the personal opinions and whims of Sidonie Laborde (Léa Seydoux) are simply not tolerated by anyone other than her fellow servants. A seeming relaxed and smiling social better instantly turns on her the moment she does anything deemed unacceptable, and when she finally does 'win the love' of Queen Marie Antoinette (Diane Kruger) it is for reasons completely out of line with what Sidonie might have wished for, but should probably have come to expect.
Because if there is one thing about the character of Sidonie that I would criticize, it is exactly that: for someone seemingly so inquisitive, so observant of social protocol, and yet so willing to force her will through at certain times, she appears completely unable to assert herself around Queen Marie Antoinette - even when the rats are leaving the sinking ship, to use a Dutch expression. But perhaps this is unfair: perhaps she really did feel unconditional love towards the Queen.
Speaking of love, who can fault Queen Marie Antoinette for being completely swept off her feet by Yolande Martine Gabrielle de Polastron, 'la duchesse de Polignac' (Virginie Ledoyen). The movie seems to portray her as a somewhat more recent and distant presence at the court than she was in reality, but regardless, it gives the viewers a peak into the upper layers of society at Versailles. If the adage 'play or be played' is too modern a description, something more contemporary would surely have conveyed the same idea.
All in all, I consider this to be a fine film indeed. Diane Kruger gives us one of the more believable portrayals of Queen Marie Antoinette in recent times. If nothing else, acknowledgement of the fact that she was a mother in her mid-30s, and not a frivolous 20 year old, is a good start. But the film goes further, probably in line with the recent trend among historians to view Queen Marie Antoinette in a more positive light.
One final note about the supposed pornographic nature of some scenes, pointed out in the reviews of others (mostly Americans); there is nudity, a kiss, and some longing stares. But this is nothing out of the ordinary in French, and indeed most European, films. Don't miss out on this film for fear of seeing a naked torso!
Some have criticized the two main actresses for appearing stiff and lacking spontaneity; and I can certainly see where that is coming from, but rather than seeing this as a negative, I think it works to illustrate the strict protocols and the ever present divides of class and status that permeate life at Versailles. With one notable exception, the personal opinions and whims of Sidonie Laborde (Léa Seydoux) are simply not tolerated by anyone other than her fellow servants. A seeming relaxed and smiling social better instantly turns on her the moment she does anything deemed unacceptable, and when she finally does 'win the love' of Queen Marie Antoinette (Diane Kruger) it is for reasons completely out of line with what Sidonie might have wished for, but should probably have come to expect.
Because if there is one thing about the character of Sidonie that I would criticize, it is exactly that: for someone seemingly so inquisitive, so observant of social protocol, and yet so willing to force her will through at certain times, she appears completely unable to assert herself around Queen Marie Antoinette - even when the rats are leaving the sinking ship, to use a Dutch expression. But perhaps this is unfair: perhaps she really did feel unconditional love towards the Queen.
Speaking of love, who can fault Queen Marie Antoinette for being completely swept off her feet by Yolande Martine Gabrielle de Polastron, 'la duchesse de Polignac' (Virginie Ledoyen). The movie seems to portray her as a somewhat more recent and distant presence at the court than she was in reality, but regardless, it gives the viewers a peak into the upper layers of society at Versailles. If the adage 'play or be played' is too modern a description, something more contemporary would surely have conveyed the same idea.
All in all, I consider this to be a fine film indeed. Diane Kruger gives us one of the more believable portrayals of Queen Marie Antoinette in recent times. If nothing else, acknowledgement of the fact that she was a mother in her mid-30s, and not a frivolous 20 year old, is a good start. But the film goes further, probably in line with the recent trend among historians to view Queen Marie Antoinette in a more positive light.
One final note about the supposed pornographic nature of some scenes, pointed out in the reviews of others (mostly Americans); there is nudity, a kiss, and some longing stares. But this is nothing out of the ordinary in French, and indeed most European, films. Don't miss out on this film for fear of seeing a naked torso!