Marie Antoinette

Marie Antoinette ***

If anything, "Marie Antoinette" is an interesting way to tell one of the most commonly mistold stories in all of history. Instead of falling towards the old cliches of the period piece, it does it with a twist. It's as if I were watching history through the lens of a John Hughes movie. I was almost expecting Molly Ringwald to come out in a long white dress, with her hair sticking straight up, and a feather in her hair. But then I guess this is what I could expect from Sofia Coppola, who returns from the great "Lost in Translation" to tell another story, a true one, about alienation, and what it means to be away from home. In the end, I cannot really tell if I enjoyed "Marie Antoinette" or not. One thing is for certain: I admired the way Coppola decides to tell her story, and how she strips away from all the common historical storytelling methods and really attempts to use her own voice.

"Marie Antoinette" begins with an opening title sequence that I saw when I saw "Legally Blonde." A whole bunch of pink letters to the tune of some type of 70's punk music. We are then introduced to the title character, an Austrian princess who is brought from Vienna to Versailles to marry the heir to the throne, Louis Auguste, as a way to unify Austria and France. The only way to do that is through a marriage, and the only way to have a proper marriage is for it to be consummated. In the opening scenes, Marie is stripped of everything related to her former life, including her dog and her clothes, and she enters the world where everything is a ritual. There are even rituals to getting something to drink. The two have a rocky relationship, and after many awkward dinners do they even begin to speak to one another.

"I hear that you make keys as a hobby. . ." Marie mentions to him at dinner.
"Yes," Louis answers.
"Do you enjoy making keys?"
"Obviously."

That is pretty much the extent to any of their talks. To make matters worse, the two do not even have sex to conceive a proper heir. In reality, they don't end up consummating the marriage until seven years in. Every morning, Marie's crew and servants gathers around her bed to find some kind of evidence to intercourse, but always walk away disappointed. Tragedy occurs, and Marie and Louis end up becoming the King and Queen of France, which means that luck is not in their favor. They are far too young to be concerned with issues that a king and queen must face. Marie begins to unleash her energy by throwing elaborate parties, and spending money on shoes and wigs and other outlandish fashions. Sadly, the country is in enough debt as it is, and with the American Revolution underway, there are many better things that need to be concerned about than what Marie wants. She gains the nickname "Queen of Debt," and is hated by almost everyone in the land.

The first hour and a half of "Marie Antoinette" are long shots of Marie just being herself-getting adjusted to life, attending events, trying to lay her husband, shopping, etc. The French Revolution, and any type of serious political element are an afterthought, not even mentioned until the third act. But this is perfectly acceptable. This is the story of Marie, a young woman who is forced to go into this life that she is not ready for. I am also glad that they end it before she is beheaded, but am a little upset at the very last shot, which is unneeded. The film would have had a more final and more haunting ending, until Coppola decided to take on one single frame of something more. It's strange how something so little could change something in a great way.

Coppola has a specific reason for doing everything she does. While watching the cast list, you would be amazed at some of the players. First there is Kirsten Dunst, who I really have no problem with, but seeing actors like Jason Schwartzman, Rip Torn, and Molly Shannon in big wigs and elaborate outfits seems strange. And it is strange. I really would have never pictured King Louis XV being portrayed by Rip Torn. I also would have never imagined Bow Wow Wow's "I Want Candy" being played in a period piece during a montage of dinners and parties and desserts. But Coppola is trying to make a point by telling a story that is commonly mistold, and telling it in a way that nobody would have ever expected. Many period pieces are nothing like things actually happened. The people of the past did many of the things we do today: spread gossip, go shopping with groups of friends, and talk about the latest things. They wanted to keep up with the latest fads and trends as much as people today do. And so, she creates a caricature of most historical films, by casting Rip Torn and Molly Shannon, and putting in music from the 70's and the 80's in place of string quartets and violins. Some of it seemed out of place at times, but I admired what Coppola was doing, and was glad to see that she was making a stand against the cliches of Hollywood. She is really a unique voice, even if she does things I can't agree with most of the time.

And the sets. Oh the sets! There is so much beauty in the sets. Coppola even shot in Versailles, and brought so much life to this world she created. From the costumes to the interiors. The pastel colors-the emphasis on pink. There is one shot of Marie and her friends trampling along in the grass as the sun is coming up. It is that perfect time of night, where the night is still here but the day is on its way. Everything is peaceful, and Coppola simply basks in this image of them all. There is really a hour and fifteen minute long film here that she extends simply for the sake of showing the world's beauty. It certainly is a visual masterpiece, if anything. "Marie Antoinette" is memorable in the fact that it is special. I wouldn't go out and give it any awards, except maybe for set design, etc, but it is admirable. It is a fine effort by Coppola, and one that should be considered instead of dismissed. If you accept what she's done instead of making fun of it, it really is an enjoyable experience. I was surprised by how much I enjoyed this film.