<p class="p1"><span class="s1">Marie Antoinette was a historical figure who has become synonymous with excess. More often than not, this has been used (both in her time and beyond) as a scarlet letter, condemning her lack of self-awareness and empathy in a time of gross inequality and revolution. Some have questioned the extent to which she was a villain or a victim, and different historians have painted her as both. In this way, she was a person whose lasting image benefits from varied interpretations, which collectively enhance the mystique surrounding her short and tumultuous life. In Sofia Coppola’s 2006 historical interpretation, the life of Marie Antoinette is reinvigorated for a new generation, a generation that has been similarly maligned for its apparent narcissism and self-indulgence. </span></p>
<p class="p1"><span class="s1">The film generally follows the life of Marie Antoinette (Kirsten Dunst) from her last days as the Archduchess of Austria, until her final departure from Versailles. As a teenager, she is married off to Louis-August (Jason Schwartzman), the Dauphin of France, and promptly taken to live at Versailles. The young couple is shy with one another, and despite being pressured from all directions to produce an heir, Louis shows little interest in consummating the marriage. In addition to her marital woes, Marie Antoinette struggles with the rules and gossip of the court at Versailles, but eventually finds some degree of happiness in the luxuries that her position affords her. Needless to say, this excess would eventually have dire consequences for her and the future of the sovereignty. </span></p>
<p class="p1"><span class="s1"><em>Marie Antoinette</em> is a period piece that distinguishes itself from others with a consciously modernistic style. The soundtrack features such artists as <em>Bow Wow Wow</em>, <em>The Strokes</em>, and <em>Ceremony</em>, among others. While putting contemporary, upbeat music against an archaic setting is technically nothing new, it works well in light of the story’s emphasis on opulence and the carefree whims of young royals. <em>Marie Antoinette</em>&#8216;s pop-rock soundtrack is visually matched by bright pink and blue costumes, extravagant makeup and the real-life magnificence of Versailles. </span></p>
<p class="p1"><span class="s1">At times, the film functions as a kind of laundry list of what some teenagers must surely dream about: a life full of luxury that is free (at least ostensibly so) of responsibility. For better or worse, Marie Antoinette was a spoiled teenager, thrust into a situation beyond her own abilities, who chose to indulge in parties and endless luxury rather than address the problems of the nation for which she was partly responsible.</span></p>
<figure id="attachment_1389" aria-describedby="caption-attachment-1389" style="width: 850px" class="wp-caption aligncenter"><img class="wp-image-1389" src="https://philosophyinfilm.com/wp-content/uploads/2018/02/Marie-Antoinette-12-300x162.jpg" alt="Marie Antoinette costume" width="850" height="458" /><figcaption id="caption-attachment-1389" class="wp-caption-text">Marie Antoinette (2006)</figcaption></figure>
<p class="p1"><span class="s1">Some may take issue with the story arc, and its apparent lack of closure; Coppola chose to take a snapshot of a particular time period in the life of a young woman, rather than watching her grow up as a child and then eventually die as an ousted queen. Instead, we see a teenager being a teenager, and though we do see some of the consequences of her lack of self-awareness, the film finishes before the blood-bath ensues. In this sense, the film leaves audiences wanting more, as it creates such an intoxicating atmosphere that we wish to see it through to the bitter end, despite knowing what horrors are to come. However, this also helps it relate to the audience for which it was made. </span></p>
<p class="p1"><span class="s1"><em>Marie Antoinette</em> targets a young demographic of the 2000&#8217;s who, as a result of the Internet, social media, and a plethora of other social, political, and technological factors, have come to be associated with indulgence, laziness, narcissism, and a lack of understanding of the world outside of their individual existence. Whether or not one ascribes to this particular point of view, the film does appeal to the real interests of a generation that craves luxury and has a reputation for self-aggrandizement. </span></p>
<p class="p1"><span class="s1">The atmosphere that Coppola creates is also one of the film’s primary selling points. Although we are witness to many of the burdens and frustrations that the queen experienced, we are given a much more vivid picture of the many pleasures for which she was known. The sequences of endless parties, with the finest food and drink available, as well as uninhibited sex and gambling, makes one sit in awe of someone who managed to live such a life. It&#8217;s enough to make one who is ignorant of the outcome downright envious. In this respect, <em>Marie Antoinette</em> is a rousing success. It does not completely ignore the darker elements of her life, nor does it only give us a glimpse of all the grandeur and indulgence. As a result, we are able to understand a rather enigmatic historical figure at a visceral level, while at the same time being thoroughly entertained by the sheer magnificence of her lifestyle.</span></p>
<p class="p1"><span class="s1">Rating: </span><span class="s2">★★★★</span><span class="s1"> out of 5</span></p>
<p>If you&#8217;d like to watch <span class="s1"><em>Marie Antoinette,</em> it is currently available to rent or purchase <a href="https://www.amazon.com/gp/product/B000NGYLOM/ref=as_li_qf_asin_il_tl?ie=UTF8&;tag=mjones34880c-20&;creative=9325&;linkCode=as2&;creativeASIN=B000NGYLOM&;linkId=7563c7ca044b6db0e07cebc042e69a2b">via Amazon here</a>.</span></p>

Review: Marie Antoinette (2006) ★★★★
