“So did those who boo perhaps have a Yankee accent? Or British, Italian, or Austrian? Who can say? The important point is that Marie-Antoinette was not hated. The daily ‘critics’ jury’ of Screen International, a cross-section of nine international critics, gave it 2.44 points out of a possible 4; it’s tied for fifth out of 14 films. In another poll, Michel Ciment rated it worthy of the Palme d’Or. I’ve also noticed that opinions on the film seem to be growing more favorable as time passes .” — Roger Ebert in his 5.25 column. All due respect to Roger, Michel Ciment and the others who admired Coppola’s pic, but this is not the truth as I knew, gauged and assimilated it in Cannes. My reaction and those of several journalists I spoke to after the film ended was one of aesthetic and moral revulsion. I stand absolutely by my original observation that this is “arguably one of the shallowest and dullest historical biopics of all time.” As I said earlier, Coppola does a pretty good job craft-wise, and she obviously has rendered a view of the French queen’s life of her own devising. The problem is that this view is atrociously lame. If Coppola were to apply the same aesthetic to a life-of-Christ movie, it would be just as bland and value-less, and it would end as Judas and the Roman soldiers enter the Garden of Gethsamene. Let’s call a spade a spade — Coppola identified with Marie-Antoinette and wanted to cut her a break.
It may also be worth adding that the ‘critics’ jury of French trade bible Le Film Francais have Marie Antoinette as their front-runner for the Palme (at the time of writing). [link: http://www.lefilmfrancais.com/cannes2006/pages/etoiles.htm
Is it any surprise that certain European critics are now getting out in front of this story by saying “Cannes audience stupid, we smart, Marie-Antoinette masterpiece too brilliant for dumb Cannes audience to see?” As if Ebert hasn’t seen THAT game played before. The icing on the cake, of course, would be knowing the nationality of who booed and being able to say “American audience stupid, French critics smart.”
Wells is gonna blow his top if Marie Antoinette wins anything. You can feel his absolute rage that Sofia Coppola dared make a film that challenged and baffled him. He should read some of the reviews by the critics who did understand the movie. Maybe they could provide some much-needed hand-holding. Also, I’m not sure why Wells has pretty much ignored the fact that the film has received arguably more positive than negative reviews. Old school film critics with an understanding of European art cinema have embraced it, while middle-of-the-road, low brow, entertainment seekers like Wells have raged against it.
I dunno about Wells’ rage but we can certainly feel yours, Sanfred (and endlessly amusing it is too)!
Sofia Coppola is cute. But Kirsten Dunst looks like a starved, hairless, burrowing animal. Covered in flour! And this movie looks terrible.
“Coppola identified with Marie-Antoinette and wanted to cut her a break.”
You don’t make it clear how that is a bad thing — was Marie Antoinette SUPPOSED to die, is that was she deserved? Did you go to the film to watch Marie-Antoinette get cut up? Obviously I haven’t seen it and it might very well be dull, but the ending certainly seems provocative enough for Wells to be fuming. If the film isn’t about her death, could it – God-forbid – be about something new?
Question for Jeff:
How can you feel aesthetic revulsion toward a movie that “does a pretty good job craft-wise”? From your full length review, it sounds like you had a great deal of respect (if not enthusiasm) for the film’s photography, editing, and use of music. I’m just wondering, then, what aspect of the film’s aesthetic inspired feelings of revulsion?
The fact that the critical press (lets be honest: mostly 30/40 and ups, and many more older especially among the Eurofilm old guard) is so hateful of this film and so far can only seem to muster that “they left out the important part” (her murder at the hands of the revolution) tells you more about where they’re coming from than where Coppola is. How’s THIS for calling a spade a spade: The beheading of Marie Antoinette is a sacrosanct moment in history to a certain generation (and strata) of would-be “marxism-lite” intellectuals; the juvenille fantasy of slaughtering the rich kids and making off with the toys lived-out for them to experience vicariously.
Especially look at Wells’ quote above: He REALLY seems to think that NOT hacking the girl’s head off is “cutting her a break,” the clear implication being that this isn’t just Antoinette’s historical fate but her DESERVED one… as though being a spoiled brat ought to really be an executable-offense.
And note that he derisively refers to Sofia’s “identifying” with her character. If Coppola- who indeed comes from (relative) privlidge and has obviously benefited artistically from the freedom it’s allowed her- if she really has just filmed a feature-length chronicle of daily life in Rococo Versailles before everything ended… she hasn’t merely deprived this audience of their “money shot;” she’s committed a crime against the text every bit as egregious to them as DaVinci Code was to the Christian Right nutters: “Maybe myopic affluence ISN’T the ultimate sin” standing in for “Maybe Jesus was married.”
The critics at Sundance hated Art School Confidential, and they were right. So maybe they might have a point with Marie-Antoinette. But I figure it’s probably not much more of a jerk-off than the average period piece.
Are the same guys who are lame, because they love a movie they havent seen, I myself have seen the movie, and I felt cheated when Kristen Dunst lost no head. Also Bob, stay at your blog its pathetic going to other peoples blog when you have your own.
I for one would love to see the Jesus movie Wells describes above. Sounds like a huge improvement over Passion of the Christ and the usual inspirational versions of the story…
On the other hand, critics praised the Last Emperor, and that was pretty shallow, too. So maybe JD’s right about there being a double standard.
Curious.
Obviously, the film isn’t intended as a literal depiction of MA’s life (never listened to The Cure, never wore Converse), but as metaphor.
It seeks to suggest parrallels between Versailles’ youth and youths of any generation — particularly today’s in the sense that our elite class is so wealthy and removed from common experience.
By ending before her death, the film simply offers an ominous warning of the dangers of such a situation. But if it had kept her death, would the metaphor not then conclude by suggesting wealthy, vapid American youths deserve to have their heads chopped off?
Literal history is one thing. Metaphor in art is another. There are plenty of movies about Hitler that don’t show him blowing his brains out. Nobody complained. Marie Antoinette was hardly Adolph Hitler. A little perspective please.
With all the controversy over measuring the number of boos and claps given a movie by a Cannes audience, what to make of the 8 minute standing O given to Clerks II?
“How can you feel aesthetic revulsion toward a movie that “does a pretty good job craft-wise”? From your full length review, it sounds like you had a great deal of respect (if not enthusiasm) for the film’s photography, editing, and use of music. I’m just wondering, then, what aspect of the film’s aesthetic inspired feelings of revulsion?”
I haven’t seen the film and don’t know if this is the answer, but there are lots of movies that put all the right elements into place and then don’t go anywhere with them. Coppola may have had some real insight into M-A’s life, and yet if it isn’t shaped dramatically to some point, you could react as Jeffrey has.
No one has mentioned Rossellini’s film The Rise of Louis XIV as yet, but it seems to me that that might be Coppola’s inspiration– another film about, basically, monarchy as lifestyle.
Re: “Especially look at Wells’ quote above: He REALLY seems to think that NOT hacking the girl’s head off is “cutting her a break,” the clear implication being that this isn’t just Antoinette’s historical fate but her DESERVED one… as though being a spoiled brat ought to really be an executable-offense”.
Ehm, that’s exactly what Wells means by “cutting
her a break”. Why do you think she DIDN’T
deserve it? You do know that the French monarchy
was responsible for the most despicable oppression
right? What kind of history are you reading?
Would you prefer the spoiled brats of the English
monarchy still governing the U.S.? I’m sorry to
say that all the kings and queens of Europe had
it coming.. And any attempt to justify their
actions is politically suspect.. Now I wouldn’t
mind seeing why they acted like they did. So I am
withholding judgment no the movie. But clearly
making someone believe they deserved to keep
ruling, like Wells is saying Coppolla does, is
despicable.
“Why do you think she DIDN’T
deserve it? You do know that the French monarchy
was responsible for the most despicable oppression right? What kind of history are you reading? Would you prefer the spoiled brats of the English monarchy still governing the U.S.? I’m sorry to say that all the kings and queens of Europe had it coming.. And any attempt to justify their actions is politically suspect..”
Wow. Thanks for proving my point
Seriously, though, lemme be clear on this: No one would seriously contend that these people should have kept on ruling. What the European aristocracy “deserved” was uprising and political revolution with the aim of establishing a better order. To lose the horded treasure and castles and godlike power, absolutely. To be murdered as bloodsport for the masses, though? No, that’s too far. This is WHY the French Revolution was ultimately a failure on it’s own terms, because the legitimate movement for political change was too-soon and too-completely overtaken by the angriest and least rational who just wanted short-term vengeance against the “rich kids.” By the end, even Robespeirre was dressing in drag and calling himself a Goddess.
Antoinette wasn’t Mother Theresa, but she didn’t “deserve” to die any more than Anastasia’s kin deserved their similar fate at the hands of the Bolsheviks.
You mention the English monarchy, that’s why the American Revolution actually worked in comparison. The Sons of Liberty DIDN’T re-apply their Indian makeup, sail to England and hack up King George for shits and giggles. Instead, long-term thinkers (Jefferson, Adams, Franklin, etc) had the reins of the movement and kept their eyes on the ball: Establishing themselves as a political/military force to be reckonned with rather than settling for the short-term goal of base revenge.
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