list http://www.spout.com/ Recent community activity around Marie Antoinette on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Marie_Antoinette/253960/default.aspx Title: Marie Antoinette
Year: 2006
Director: Sofia Coppola
Plot: Writer and director Sofia Coppola puts a new spin on the life and times of one of Europe's most infamous monarchs in this lavish historical drama which fuses a contemporary sensibility with painstaking recreations of the look of the 18th century. Born to Austrian nobility, Marie Antoinette (Kirsten Dunst) is only 14 years old when she's pledged to marry Louis XVI (Jason Schwartzman), the 15-year-old king of France, in an alliance that has everything to do with politics and nothing to do with love. Sent to France and literally stripped of her former life, Marie weds Louis, but to the consternation of the royal court, he seems either unwilling or unable to consummate the marriage while their advisors clamor for an heir to the throne. Young and more than a bit out of step with the new life that's been thrust upon her, Marie gives herself over to the pleasures of life in Versailles, knowing and caring little of the political intrigue that surrounds her. In time, Marie's trusted older brother, Joseph (Danny Huston), is brought in to coach Louis on the finer points of marital relations, and before long the couple is finally blessed with a child. However, as Marie tends to her children in the gilded cage of her palace and enjoys an affair with a Swedish nobleman, political power plays are throwing France into chaos, and the growing ranks of the poor rebel against the royals and their life of privilege. Also starring Rip Torn, Judy Davis, Steve Coogan, and Asia Argento, Marie Antoinette was given a controversial reception when it premiered at the 2006 Cannes Film Festival. ~ Mark Deming, All Movie Guide
Times Tagged: 109
Number of Lists: 42
Number of blog posts: 22
Number of discussion threads: 6
SpoutRating: 3
]]>Tue, 18 Aug 2009 19:29:56 GMTMarie Antoinette2006Sofia CoppolaWriter and director <a href="/players/P____85872/default.aspx" style='text-decoration:underline'>Sofia Coppola</a> puts a new spin on the life and times of one of Europe's most infamous monarchs in this lavish historical drama which fuses a contemporary sensibility with painstaking recreations of the look of the 18th century. Born to Austrian nobility, Marie Antoinette (<a href="/players/P____20669/default.aspx" style='text-decoration:underline'>Kirsten Dunst</a>) is only 14 years old when she's pledged to marry Louis XVI (<a href="/players/P___263441/default.aspx" style='text-decoration:underline'>Jason Schwartzman</a>), the 15-year-old king of France, in an alliance that has everything to do with politics and nothing to do with love. Sent to France and literally stripped of her former life, Marie weds Louis, but to the consternation of the royal court, he seems either unwilling or unable to consummate the marriage while their advisors clamor for an heir to the throne. Young and more than a bit out of step with the new life that's been thrust upon her, Marie gives herself over to the pleasures of life in Versailles, knowing and caring little of the political intrigue that surrounds her. In time, Marie's trusted older brother, Joseph (<a href="/players/P____95258/default.aspx" style='text-decoration:underline'>Danny Huston</a>), is brought in to coach Louis on the finer points of marital relations, and before long the couple is finally blessed with a child. However, as Marie tends to her children in the gilded cage of her palace and enjoys an affair with a Swedish nobleman, political power plays are throwing France into chaos, and the growing ranks of the poor rebel against the royals and their life of privilege. Also starring <a href="/players/P___114388/default.aspx" style='text-decoration:underline'>Rip Torn</a>, <a href="/players/P____17373/default.aspx" style='text-decoration:underline'>Judy Davis</a>, <a href="/players/P___134980/default.aspx" style='text-decoration:underline'>Steve Coogan</a>, and <a href="/players/P_____2163/default.aspx" style='text-decoration:underline'>Asia Argento</a>, Marie Antoinette was given a controversial reception when it premiered at the 2006 Cannes Film Festival. ~ Mark Deming, All Movie Guide109Tag Target (>10)422263http://www.spout.com/ProductImages/u20379hdjt7.jpghttp://www.spout.com/films/Marie_Antoinette/253960/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_August_17_Death_Row/625/43612/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 8/18/2009 3:29:56 PM
Body: The Night of the Hunter - Not really about an execution, but the film centers around some money that the cellmate of a death row inmate overhears and takes upon himself to find upon his release. Sin City - The film that brought back Mickey Rourke from mediocrity. Not to give anything away but his character Marv was one fucking badass that just wouldn't die peacefully. Capote & Infamous - Both good films about the murders that took place in Truman Capote's In Cold Blood and the subsequent executions of the murderers. Elizabeth - The first act of the film centers on whether Elizabeth is going to be executed or become queen. Perfume: The Story of a Murderer - I believe the latter part of the film centered around an execution but all I remember is the bizarre orgy. Need to watch it again. Marie Antoinette - The one thing that got a lot of people mad about this film was the lack of any depiction of her execution. The Messenger - Again, doesn't get to the actual act, but nonetheless. Alice in Wonderland - OFF WITH HER HEAD! Salo - Kinda sorta fits the theme. A bunch of young girls and boys are kidnapped from the countryside and ritualistically tortured and executed. Worth checking out if you feel like vomiting. Dancer in the Dark - I love von Trier and Bjork but not so much together in this film. Definitely on my re-watch list. Starship Troopers - There is a particularly hilarious scene in the film where a murderers execution is going to be aired on live television.
]]>Tue, 18 Aug 2009 19:29:56 GMTmercurialWeekly Theme8/18/2009 3:29:56 PM The Night of the Hunter - Not really about an execution, but the film centers around some money that the cellmate of a death row inmate overhears and takes upon himself to find upon his release. Sin City - The film that brought back Mickey Rourke from mediocrity. Not to give anything away but his character Marv was one fucking badass that just wouldn't die peacefully. Capote &amp; Infamous - Both good films about the murders that took place in Truman Capote's In Cold Blood and the subsequent executions of the murderers. Elizabeth - The first act of the film centers on whether Elizabeth is going to be executed or become queen. Perfume: The Story of a Murderer - I believe the latter part of the film centered around an execution but all I remember is the bizarre orgy. Need to watch it again. Marie Antoinette - The one thing that got a lot of people mad about this film was the lack of any depiction of her execution. The Messenger - Again, doesn't get to the actual act, but nonetheless. Alice in Wonderland - OFF WITH HER HEAD! Salo - Kinda sorta fits the theme. A bunch of young girls and boys are kidnapped from the countryside and ritualistically tortured and executed. Worth checking out if you feel like vomiting. Dancer in the Dark - I love von Trier and Bjork but not so much together in this film. Definitely on my re-watch list. Starship Troopers - There is a particularly hilarious scene in the film where a murderers execution is going to be aired on live television. http://www.spout.com/blogs/kevynknox/archive/2009/7/11/43000.aspx Post By: KevynKnox
Post To: KevynKnox Blog
Post Date: 7/11/2009 2:44:51 AM
Body: (this review was first published at www.thecinematheque.com on 10/12/06) What does one get when one combines postmodern pop sensibility, French Nouvelle Vague philosophies and eighties new wave music and pour it all into an 18th century period piece already stuffed fat and full with ravishing costumes, luscious set pieces and sexually decadent behaviour? One gets Sofia Coppola's best film yet! Opening with a wink and a nod, and full of candy-coloured confections of awkward yet graceful charm and wry wit, Marie Antoinette perhaps is not as surfacely deep as her two earlier films, but it does share with her predecessors a claustrophobic sense of entrapment and unheeded privilege. Like Scarlett Johansson's Charlotte in Lost in Translation, afraid to venture pass the lobby of her plush Park Hyatt Tokyo, and Kirsten Dunst herself as Lux Lisbon in The Virgin Suicides, a languorous kitten trapped by society inside her own imagined world, Marie, just fourteen when sent to marry the Dauphin of France, Louis Auguste, is like a lost little bird trapped inside the gilded cage that is Versailles. These girls, squelched by the strangulation of privilege, are what Coppola does best - for obvious autobiographical reasons - and she does it with her most grandiose hand yet in Marie Antoinette. Do not let yourself be fooled, for this is not your mother's historical biopic - it is frivolity underscored with seriousness. Instead of faking the mannersims of a staunchy haughty period piece - so overblown by many a great director in the past - Coppola sends Dunst out with the voice of a mall queen with daddy's credit card in her Prada bag - princess of the all-nite rave. Many critics have said Coppola and Dunst portray the teen queen as an 18th century Paris Hilton - and this is probably true on many fronts - but they also show that being Paris Hilton (or any other rich bitch prima donna) may not be all that great a thing to be after all - you just might lose your head over it. Full of music two hundred years out of time, this pomo set piece plays out as if The Cure or New Order are perfectly in sync with an 18th century masqued ball or a royal coronation. One number in particular, Bow Wow Wow's I Want Candy booms across the soundtrack as Marie and her ladies-in-waiting go on a shopping spree full of decadent wardrobes, delicious shoes (including a pair of purple Converse snuck in for flair) and resplendantly ridiculous hairstyles - never once seeming out of place. The modern music and period setting may be rather similar in vein to the films of Baz Luhrmann, but Coppola manages to weave her way past the overly trite style of a film like Moulin Rouge and belts out a film not only full of magniloquence and pretty party pieces, but also of a subtly meaty political underpining beneath the pink frosted exterior that is this pop star Versailles. Peripherally responsible for the starvation of France which in turn led to the French Revolution which in turn led to the beheading of both Antoinette and Louis XVI, Coppola's queen is played more for sympathy than sneer (which assuredly led to the few boo's it recieved from the Cannes balconies). Showing instead, Marie Antoinette as an apathetic hautier that more likely than not never even came into contact with the "people of France" let alone was in any capable state to rule them. The scapegoat of history - her crime being perhaps more an innocent indifference than a calculated reign of terror - Marie Antoinette was more the giggling schoolgirl of privilege than anything else. Not that this is any excuse for what the French citizenry endured during those days before the revolution (remember when George Bush the Father could not even fathom a guess on how much a quart of milk cost?), but it is most likely the most accurate way to look at this child queen. Even the surely apocryphal "let them eat cake" quote (the comment that launched a thousand guillotines) is played at by Coppola as if it were a snide little remark to be manipulated and teased - and Dunst's Marie, a pretty powdered present from Austria to France is commented on as "a piece of cake" early on in the film. All this leading to a pop film that seems at first glance nothing more than confectionary sugar and pink and blue sprinkles, but on deeper reflection can be seen as a politically charged dress-up film of revolutionary standards. A film that is set between 1765 and 1793 with music from 1980 through 1985 and is postmodern enough to have the heart of the cinematic future beating beneath its ostentatious chest. Finally, in the end, although we all know the outcome (and if you do not then read a book once and a while) we still feel a kind of sadness at this fall of eden - a child's eden at that.
]]>Sat, 11 Jul 2009 06:44:51 GMTKevynKnoxKevynKnox Blog7/11/2009 2:44:51 AM(this review was first published at www.thecinematheque.com on 10/12/06) What does one get when one combines postmodern pop sensibility, French Nouvelle Vague philosophies and eighties new wave music and pour it all into an 18th century period piece already stuffed fat and full with ravishing costumes, luscious set pieces and sexually decadent behaviour? One gets Sofia Coppola's best film yet! Opening with a wink and a nod, and full of candy-coloured confections of awkward yet graceful charm and wry wit, Marie Antoinette perhaps is not as surfacely deep as her two earlier films, but it does share with her predecessors a claustrophobic sense of entrapment and unheeded privilege. Like Scarlett Johansson's Charlotte in Lost in Translation, afraid to venture pass the lobby of her plush Park Hyatt Tokyo, and Kirsten Dunst herself as Lux Lisbon in The Virgin Suicides, a languorous kitten trapped by society inside her own imagined world, Marie, just fourteen when sent to marry the Dauphin of France, Louis Auguste, is like a lost little bird trapped inside the gilded cage that is Versailles. These girls, squelched by the strangulation of privilege, are what Coppola does best - for obvious autobiographical reasons - and she does it with her most grandiose hand yet in Marie Antoinette. Do not let yourself be fooled, for this is not your mother's historical biopic - it is frivolity underscored with seriousness. Instead of faking the mannersims of a staunchy haughty period piece - so overblown by many a great director in the past - Coppola sends Dunst out with the voice of a mall queen with daddy's credit card in her Prada bag - princess of the all-nite rave. Many critics have said Coppola and Dunst portray the teen queen as an 18th century Paris Hilton - and this is probably true on many fronts - but they also show that being Paris Hilton (or any other rich bitch prima donna) may not be all that great a thing to be after all - you just might lose your head over it. Full of music two hundred years out of time, this pomo set piece plays out as if The Cure or New Order are perfectly in sync with an 18th century masqued ball or a royal coronation. One number in particular, Bow Wow Wow's I Want Candy booms across the soundtrack as Marie and her ladies-in-waiting go on a shopping spree full of decadent wardrobes, delicious shoes (including a pair of purple Converse snuck in for flair) and resplendantly ridiculous hairstyles - never once seeming out of place. The modern music and period setting may be rather similar in vein to the films of Baz Luhrmann, but Coppola manages to weave her way past the overly trite style of a film like Moulin Rouge and belts out a film not only full of magniloquence and pretty party pieces, but also of a subtly meaty political underpining beneath the pink frosted exterior that is this pop star Versailles. Peripherally responsible for the starvation of France which in turn led to the French Revolution which in turn led to the beheading of both Antoinette and Louis XVI, Coppola's queen is played more for sympathy than sneer (which assuredly led to the few boo's it recieved from the Cannes balconies). Showing instead, Marie Antoinette as an apathetic hautier that more likely than not never even came into contact with the "people of France" let alone was in any capable state to rule them. The scapegoat of history - her crime being perhaps more an innocent indifference than a calculated reign of terror - Marie Antoinette was more the giggling schoolgirl of privilege than anything else. Not that this is any excuse for what the French citizenry endured during those days before the revolution (remember when George Bush the Father could not even fathom a guess on how much a quart of milk cost?), but it is most likely the most accurate way to look at this child queen. Even the surely apocryphal "let them eat cake" quote (the comment that launched a thousand guillotines) is played at by Coppola as if it were a snide little remark to be manipulated and teased - and Dunst's Marie, a pretty powdered present from Austria to France is commented on as "a piece of cake" early on in the film. All this leading to a pop film that seems at first glance nothing more than confectionary sugar and pink and blue sprinkles, but on deeper reflection can be seen as a politically charged dress-up film of revolutionary standards. A film that is set between 1765 and 1793 with music from 1980 through 1985 and is postmodern enough to have the heart of the cinematic future beating beneath its ostentatious chest. Finally, in the end, although we all know the outcome (and if you do not then read a book once and a while) we still feel a kind of sadness at this fall of eden - a child's eden at that. http://www.spout.com/blogs/rebelprince89/archive/2009/4/24/41738.aspx Post By: rebelprince89
Post To: rebelprince89 Blog
Post Date: 4/24/2009 2:46:16 PM
Body: Marie Antoinette is one of history's most (in)famous monarchs. It's not like she did anything special for her people, considering that after her reign, France was faced with many debts to settle. However, she certainly had that je-ne-sais-quoi about her, and so does Sofia Coppola's movie. It is not a perfect movie in any way (it's not even a well-done movie), but it will surely amuse for its two hour length. Every single shot of "Marie Antoinette" is a pleasure to look at, beautiful and full of rich colors. However, this cannot be due to wonderful filmmaking - we're talking about Kirsten Dunst and Versailles. Dunst is gorgeous, and the role suits her perfectly. No matter how many myths have been told about the queen's vanity, and no matter how many shoes Copolla fits into a shot (there is even a pair of blue Converse All-Stars), she rises above these shallow approaches to acting, and makes Marie a vulnerable, observant woman. As for Versailles, the castle is a character of its own, and one of the most important aspects of this movie. As the curtain drops, on her way to the guillotine, Marie Antoinette looks sadly through the window of her carriage onto the wonderful Versailles scenery, the last words are "I'm saying good-bye", and so are we. The problems with this movie are not its stars, the direction, and not even the script. The problem is that it's preposterously egoistical. The first and the last half-hour are interesting-enough, with character development and interesting portrayal of the era. However, there is an hour in between that drags along most boringly. It is such a shame that Copolla blew her chance to make a great movie, and it would've been great. Instead, "Marie Antoinette" feels like a Versailles slumber party, hosted by wonderful people, rich and shallow.
]]>Fri, 24 Apr 2009 18:46:16 GMTrebelprince89rebelprince89 Blog4/24/2009 2:46:16 PMMarie Antoinette is one of history's most (in)famous monarchs. It's not like she did anything special for her people, considering that after her reign, France was faced with many debts to settle. However, she certainly had that je-ne-sais-quoi about her, and so does Sofia Coppola's movie. It is not a perfect movie in any way (it's not even a well-done movie), but it will surely amuse for its two hour length. Every single shot of "Marie Antoinette" is a pleasure to look at, beautiful and full of rich colors. However, this cannot be due to wonderful filmmaking - we're talking about Kirsten Dunst and Versailles. Dunst is gorgeous, and the role suits her perfectly. No matter how many myths have been told about the queen's vanity, and no matter how many shoes Copolla fits into a shot (there is even a pair of blue Converse All-Stars), she rises above these shallow approaches to acting, and makes Marie a vulnerable, observant woman. As for Versailles, the castle is a character of its own, and one of the most important aspects of this movie. As the curtain drops, on her way to the guillotine, Marie Antoinette looks sadly through the window of her carriage onto the wonderful Versailles scenery, the last words are "I'm saying good-bye", and so are we. The problems with this movie are not its stars, the direction, and not even the script. The problem is that it's preposterously egoistical. The first and the last half-hour are interesting-enough, with character development and interesting portrayal of the era. However, there is an hour in between that drags along most boringly. It is such a shame that Copolla blew her chance to make a great movie, and it would've been great. Instead, "Marie Antoinette" feels like a Versailles slumber party, hosted by wonderful people, rich and shallow. http://www.spout.com/groups/Community_Recommendations/Re_Historical_Drama/643/38218/1/ShowPost.aspx Post By: mercurial
Post To: Community Recommendations
Post Date: 12/10/2008 6:56:57 PM
Body: My personal favorites: Barry Lyndon Unequivocally the best 18th century period film ever made. Incredible. Black Narcissus Great drama set in the Himalayas. And nuns! Elizabeth Probably have already seen this, but just in case. Great film. Dogville A lot of people have not seen this due to the overwhelming negative reviews for it. But it is an amazing film nonetheless about early 20th century America. Manderlay The second film in the unfinished trilogy that follows Dogville. Gosford Park Impeccable film about the English caste system. A Little Princess Amazing kid's film. I still love it. Edward II Postmodern interpretation of Edward II. Might be too much for some. Battleship Potemkin Great historical film. Iconic scenes throughout. The Red Violin Traces a violin from its creation over 300 hundred years ago to today. And it has Samuel L. Jackson. A Very Long Engagement Tragic wartime flick about World War I in France. The Mission Insightful film about the struggles to convert South American natives to Christianity. Pride and Prejudice (2005) Best adaptation of the novel in my opinion. The Hours Three women going through the same whirlwind of emotions a three different times in history. Plunkett & Macleane Dramatic comedy set around the time of Marie Antoinette. Marie Antoinette (2006) I've grown to love this film since my hesitant initial reaction. Titus Postmodern interpretation of Titus Andronicus. The Messenger: The Story of Joan of Arc Another postmodern interpretation of the life of Joan of Arc. Andersonville Tragic movie about life in a prisoner of war camp in the South during the Civil War. Sleepy Hollow Quirky flick set in 19th century New England. The Color Purple Early 20th century South and the struggle of slaves. Great movie. That's all I can think of for now. I'm sure you've seen a number of these.
]]>Wed, 10 Dec 2008 23:56:57 GMTmercurialCommunity Recommendations12/10/2008 6:56:57 PMMy personal favorites: Barry Lyndon Unequivocally the best 18th century period film ever made. Incredible. Black Narcissus Great drama set in the Himalayas. And nuns! Elizabeth Probably have already seen this, but just in case. Great film. Dogville A lot of people have not seen this due to the overwhelming negative reviews for it. But it is an amazing film nonetheless about early 20th century America. Manderlay The second film in the unfinished trilogy that follows Dogville. Gosford Park Impeccable film about the English caste system. A Little Princess Amazing kid's film. I still love it. Edward II Postmodern interpretation of Edward II. Might be too much for some. Battleship Potemkin Great historical film. Iconic scenes throughout. The Red Violin Traces a violin from its creation over 300 hundred years ago to today. And it has Samuel L. Jackson. A Very Long Engagement Tragic wartime flick about World War I in France. The Mission Insightful film about the struggles to convert South American natives to Christianity. Pride and Prejudice (2005) Best adaptation of the novel in my opinion. The Hours Three women going through the same whirlwind of emotions a three different times in history. Plunkett &amp; Macleane Dramatic comedy set around the time of Marie Antoinette. Marie Antoinette (2006) I've grown to love this film since my hesitant initial reaction. Titus Postmodern interpretation of Titus Andronicus. The Messenger: The Story of Joan of Arc Another postmodern interpretation of the life of Joan of Arc. Andersonville Tragic movie about life in a prisoner of war camp in the South during the Civil War. Sleepy Hollow Quirky flick set in 19th century New England. The Color Purple Early 20th century South and the struggle of slaves. Great movie. That's all I can think of for now. I'm sure you've seen a number of these. http://www.spout.com/blogs/aidanbrack/archive/2008/7/24/33041.aspx Post By: aidanbrack
Post To: The Bigger Picture
Post Date: 7/24/2008 2:56:41 PM
Body: This week has been hectic and so I have only had time so far to enjoy two movies. No matter, the week is still young. Election (1999) is an old favourite. Alexander Payne is one of my favourite film makers and whilst he is still honing his craft here, I adore his screenplay's use of tone and narrative voice. For those who haven't seen it - Election is told through a number of different narrators, all of whom have views of the events that unfold throughout the course of the picture. Characters conflict one another's accounts and are unreliable, yet that is part of the joy and we always come to see through their self-deceptions. It is the story of a girl who is the class priss. Who clearly thinks that she is streets ahead of her classmates and wants all of the attention. She is misguided, believing that success will beget friendship. It is her smarmy attitude that causes the vividly negative reaction that her history teacher, Jim McAllister (Broderick) develops to her. He wants her to fail. What I find fascinating about this movie is that the characters understand each other more than they understand themselves. Well, except the jock who is played to dim-witted but affable perfection by Chris Klein who is now better known for American Pie. The movie holds up to repeated viewing and as we are in election year seems particularly relevant. It is fast becoming a back catalogue favourite. The Darjeeling Limited is another story by a film-maker I adore. Wes Anderson directed another movie that I have watched many times over, The Royal Tenenbaums, so I was always going to be looking forward to a new movie from him. It was the cast that sealed it for me though - Jason Schwartzman always guarantees I will find something of interest in a movie. I love his awkward, thoughtful performances and even when I am not thrilled with the material he is given, stand up Marie Antoinette, I always find that I have enjoyed his performance and wished more screen time for him. Couple the Schwartz with Adrien Brody, another great actor, and it made for a winning formula. I love Anderson's directoral style. His meandering approach to showing a journey. His symbolism is sometimes obvious, such as at the ending of this movie, but he handles character so brilliantly that I can forgive him that. Here he creates a universe filled with oddballs and quirky characters. It was less funny than I expected but far more poignant. Particularly the scenes when they encounter the family trying to cross a river in the second half of the film. Although I suspect I will rewatch this movie less often than Tenenbaums I found it a superior work. The terrain is stunning (I wish I had seen it on the big screen), the sets intricate and the acting first rate. All in all I am glad that I finally managed to see it.
]]>Thu, 24 Jul 2008 18:56:41 GMTaidanbrackThe Bigger Picture7/24/2008 2:56:41 PMThis week has been hectic and so I have only had time so far to enjoy two movies. No matter, the week is still young. Election (1999) is an old favourite. Alexander Payne is one of my favourite film makers and whilst he is still honing his craft here, I adore his screenplay's use of tone and narrative voice. For those who haven't seen it - Election is told through a number of different narrators, all of whom have views of the events that unfold throughout the course of the picture. Characters conflict one another's accounts and are unreliable, yet that is part of the joy and we always come to see through their self-deceptions. It is the story of a girl who is the class priss. Who clearly thinks that she is streets ahead of her classmates and wants all of the attention. She is misguided, believing that success will beget friendship. It is her smarmy attitude that causes the vividly negative reaction that her history teacher, Jim McAllister (Broderick) develops to her. He wants her to fail. What I find fascinating about this movie is that the characters understand each other more than they understand themselves. Well, except the jock who is played to dim-witted but affable perfection by Chris Klein who is now better known for American Pie. The movie holds up to repeated viewing and as we are in election year seems particularly relevant. It is fast becoming a back catalogue favourite. The Darjeeling Limited is another story by a film-maker I adore. Wes Anderson directed another movie that I have watched many times over, The Royal Tenenbaums, so I was always going to be looking forward to a new movie from him. It was the cast that sealed it for me though - Jason Schwartzman always guarantees I will find something of interest in a movie. I love his awkward, thoughtful performances and even when I am not thrilled with the material he is given, stand up Marie Antoinette, I always find that I have enjoyed his performance and wished more screen time for him. Couple the Schwartz with Adrien Brody, another great actor, and it made for a winning formula. I love Anderson's directoral style. His meandering approach to showing a journey. His symbolism is sometimes obvious, such as at the ending of this movie, but he handles character so brilliantly that I can forgive him that. Here he creates a universe filled with oddballs and quirky characters. It was less funny than I expected but far more poignant. Particularly the scenes when they encounter the family trying to cross a river in the second half of the film. Although I suspect I will rewatch this movie less often than Tenenbaums I found it a superior work. The terrain is stunning (I wish I had seen it on the big screen), the sets intricate and the acting first rate. All in all I am glad that I finally managed to see it. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_14_The_Angry_Mob/625/32646/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 7/16/2008 6:38:31 PM
Body: [quote user="csprague"] Hey there, So, Abby stole my Beauty and the Beast idea, that's my favorite mob sequence ("Kill the beast! Kill the beast!"). The other one that came to mind was from my recent viewing of Marie Antoinette with Kirsten Dunst, the mob is pretty convincingly starving and wants to kill the royal family. [/quote] For some reason, the B$B "Kill the beast" chant reminds me a lot of the Jesus Christ Superstar "Cru-si-fy Him, Cru-si-fy Him!!!!" part.
]]>Wed, 16 Jul 2008 22:38:31 GMTleeroy711Weekly Theme7/16/2008 6:38:31 PM[quote user="csprague"] Hey there, So, Abby stole my Beauty and the Beast idea, that's my favorite mob sequence ("Kill the beast! Kill the beast!"). The other one that came to mind was from my recent viewing of Marie Antoinette with Kirsten Dunst, the mob is pretty convincingly starving and wants to kill the royal family. [/quote] For some reason, the B$B "Kill the beast" chant reminds me a lot of the Jesus Christ Superstar "Cru-si-fy Him, Cru-si-fy Him!!!!" part. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_July_14_The_Angry_Mob/625/32519/1/ShowPost.aspx Post By: csprague
Post To: Weekly Theme
Post Date: 7/14/2008 10:15:25 AM
Body: Hey there, So, Abby stole my Beauty and the Beast idea, that's my favorite mob sequence ("Kill the beast! Kill the beast!"). The other one that came to mind was from my recent viewing of Marie Antoinette with Kirsten Dunst, the mob is pretty convincingly starving and wants to kill the royal family.
]]>Mon, 14 Jul 2008 14:15:25 GMTcspragueWeekly Theme7/14/2008 10:15:25 AMHey there, So, Abby stole my Beauty and the Beast idea, that's my favorite mob sequence ("Kill the beast! Kill the beast!"). The other one that came to mind was from my recent viewing of Marie Antoinette with Kirsten Dunst, the mob is pretty convincingly starving and wants to kill the royal family. http://www.spout.com/blogs/lmstanley/archive/2008/6/17/31358.aspx Post By: lmstanley
Post To: lmstanley Blog
Post Date: 6/17/2008 10:34:36 PM
Body: I liked this movie as it presented a personal point of view of the life of Marie Antoinette instead of the typical view from the revolutionists. You see the ridiculous traditions of formality of the French monarchy, and an inside look to her relationship with her husband. I think it's easy to forgot how political alliances were created through strategic marriages and the role of women in society back then. It was an interesting look into Marie Antoinette as a daughter, a wife, and a mother.
]]>Wed, 18 Jun 2008 02:34:36 GMTlmstanleylmstanley Blog6/17/2008 10:34:36 PMI liked this movie as it presented a personal point of view of the life of Marie Antoinette instead of the typical view from the revolutionists. You see the ridiculous traditions of formality of the French monarchy, and an inside look to her relationship with her husband. I think it's easy to forgot how political alliances were created through strategic marriages and the role of women in society back then. It was an interesting look into Marie Antoinette as a daughter, a wife, and a mother. http://www.spout.com/blogs/cinemarian/archive/2008/5/13/28871.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/13/2008 4:45:06 AM
Body: I think the reason why so many people were disappointed with this movie (it was booed at Cannes) was because it had an excellent trailer that completely misrepresents the film. Marie Antoinette is a slow moving but fascinating character study, not the hip generation-Y fun that the trailer promised. It is a very good film nonetheless.I don't know enough about this area of history to determinate how accurate it is. It opens as Marie (Kirsten Dunst) leaves her native Austria to enter into an arranged marriage with the heir to the French throne, Louis XVI (Coppola's cousin Jason Schwartzman). Marie quickly finds herself in an odd situation - she is supposed to produce an heir, but the socially awkward and introverted Louis in unable to help. In other words, her sole purpose in life is to have sex with someone who doesn't want to have sex with her. Marie finds that she is not popular at court because of her difficulties.What I liked most of about the film was its portrait of Marie. Unlike most royalty in movies, she is essentially a normal person who was lucky enough to be born into a royal family. Although we know that she and her husband will pay a huge price for overlooking the needs of the lower classes, Marie is not a mean or uncaring person, she just doesn't know any better. It is not hard to see how one could be accustomed to all night parties with friends, extravagant costumes and a pastoral retreats in the country side. It's not so much self-absorption as environment-absorption. What keeps an impressive film from being truly exceptional is a certain coldness that it posses. It's more of a "think" movie than the fun that the trailer promised. I like Marie and many of the characters, but I never got involved in their story on an emotional level. Coppola also makes the odd choice not to include the most dramatic part of Marie's life- her downfall and death. Perhaps she is considering a sequel?This is an underrated film. It's not what the trailer promised, but is an excellent portrait of someone who tragically is in a situation over her head, and has absolutely no idea of it. Marie Antoinette (2006)
]]>Tue, 13 May 2008 08:45:06 GMTCinemaRianCinemaRian Blog5/13/2008 4:45:06 AMI think the reason why so many people were disappointed with this movie (it was booed at Cannes) was because it had an excellent trailer that completely misrepresents the film. Marie Antoinette is a slow moving but fascinating character study, not the hip generation-Y fun that the trailer promised. It is a very good film nonetheless.I don't know enough about this area of history to determinate how accurate it is. It opens as Marie (Kirsten Dunst) leaves her native Austria to enter into an arranged marriage with the heir to the French throne, Louis XVI (Coppola's cousin Jason Schwartzman). Marie quickly finds herself in an odd situation - she is supposed to produce an heir, but the socially awkward and introverted Louis in unable to help. In other words, her sole purpose in life is to have sex with someone who doesn't want to have sex with her. Marie finds that she is not popular at court because of her difficulties.What I liked most of about the film was its portrait of Marie. Unlike most royalty in movies, she is essentially a normal person who was lucky enough to be born into a royal family. Although we know that she and her husband will pay a huge price for overlooking the needs of the lower classes, Marie is not a mean or uncaring person, she just doesn't know any better. It is not hard to see how one could be accustomed to all night parties with friends, extravagant costumes and a pastoral retreats in the country side. It's not so much self-absorption as environment-absorption. What keeps an impressive film from being truly exceptional is a certain coldness that it posses. It's more of a "think" movie than the fun that the trailer promised. I like Marie and many of the characters, but I never got involved in their story on an emotional level. Coppola also makes the odd choice not to include the most dramatic part of Marie's life- her downfall and death. Perhaps she is considering a sequel?This is an underrated film. It's not what the trailer promised, but is an excellent portrait of someone who tragically is in a situation over her head, and has absolutely no idea of it. Marie Antoinette (2006) http://www.spout.com/blogs/spoutblog/archive/2007/12/27/23257.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/27/2007 4:00:46 PM
Body: I don’t want to imply that I find all corset movies to be boring — though I’ve never been a big fan of that stuffy period-piece genre — but after watching the new trailer for The Duchess (courtesy of Moviefone), I’ve bookmarked the film as potentially the??most effective??sleeping aid??of 2008. The main problem is that Keira Knightley in a corset is one of the most tired things in filmmaking these days. In fact, Knightley in any type of period piece (even Domino was set in the past, remember)??is apt to make me drowsy. Too bad, considering I’d like to give The Duchess a chance, what with it originally being adapted by the excellent Danish scripter Anders Thomas Jansen (the current screenplay appears to be reworked by period piece scribe Jeff Hatcher – yawn). To me, The Duchess seems like a means for the true period-piece fans??to take back what’s rightfully theirs. It’s like a more traditional take on themes we saw in the wonderfully fresh Marie Antoinette. After all, Georgiana Spencer (Knightley) was another 18th-century It Girl, fashionably innovative and something of a party animal. You might have figured this out from the beginning of the trailer, which clearly points her out as “the Empress of Fashion,” though you might have been confused or doubtful since the reveal of Knightley’s appearance is pretty underwhelming, considering both that the fashion to us is 300 years old and that on Knigthley it looks so commonplace. At least we get to see the actress??with her “father” Jonathan Pryce’s wig from Pirates of the Caribbean and later a perm that would make Elsa Lanchester laugh with superiority. Originally posted on:SpoutBlog
]]>Thu, 27 Dec 2007 21:00:46 GMTSpoutBlogSpoutBlog on spout.com12/27/2007 4:00:46 PM I don’t want to imply that I find all corset movies to be boring — though I’ve never been a big fan of that stuffy period-piece genre — but after watching the new trailer for The Duchess (courtesy of Moviefone), I’ve bookmarked the film as potentially the??most effective??sleeping aid??of 2008. The main problem is that Keira Knightley in a corset is one of the most tired things in filmmaking these days. In fact, Knightley in any type of period piece (even Domino was set in the past, remember)??is apt to make me drowsy. Too bad, considering I’d like to give The Duchess a chance, what with it originally being adapted by the excellent Danish scripter Anders Thomas Jansen (the current screenplay appears to be reworked by period piece scribe Jeff Hatcher – yawn). To me, The Duchess seems like a means for the true period-piece fans??to take back what’s rightfully theirs. It’s like a more traditional take on themes we saw in the wonderfully fresh Marie Antoinette. After all, Georgiana Spencer (Knightley) was another 18th-century It Girl, fashionably innovative and something of a party animal. You might have figured this out from the beginning of the trailer, which clearly points her out as “the Empress of Fashion,” though you might have been confused or doubtful since the reveal of Knightley’s appearance is pretty underwhelming, considering both that the fashion to us is 300 years old and that on Knigthley it looks so commonplace. At least we get to see the actress??with her “father” Jonathan Pryce’s wig from Pirates of the Caribbean and later a perm that would make Elsa Lanchester laugh with superiority. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
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