Marie Antoinette

Kirsten Dunst's role of a lifetime brings me the same pleasure as her first big triumph in Interview with the Vampire. In addition, the period leading up to the French Revolution is just as magical in my cinematic perception as the 1920s, so I require nothing more for happiness. The director also dared to revolutionize the classical view of the historical role of Antoinette and this is only a good thing. In retrospect, their previous collaboration in The Virgin Suicides has gone up in value, which I didn't really like, but that's okay, as long as the girls found each other. I bow, and I applaud. (02/04/2009)

At times, I felt like I was watching The Bling Ring, except from the perspective of the VIPs whom nobody is stealing from this time; instead, someone is plotting against them. Sofia Coppola approached the biography of a woman who must have fascinated her a lot, with a modern touch, as evidenced right from the start by the music, which by the way, is excellent. It's clear that the costumes are stunning, but otherwise, there's not much else to commend. I like that Sofia was bold and tried something different, but it's just a beautiful veneer where the history somewhat fades into the background. And since I don't really like Kirsten Dunst, she was even more annoying to me in this one. (03/05/2014)

Dream projects filmed exactly according to expectations rarely turn out as perfectly as the directors imagine. Sofia Coppola, in particular, after two thorough psychological analyses, relies on a lightly conceived story this time in which she struggles to balance the strong moments. The relatively insignificant plot of the fulfillment of marriage is unreasonably stretched out for half an hour, and although the ending suggests a lot, an ignorant viewer will not understand how things turned out for Maria in the end. It is said of Coppola that she makes movies just so she can include her favorite songs in them. I always laughed at this statement, but while watching this piece, I thought multiple times that there must be something to it. The music, in at least half of the cases, disrupts and often spoils the atmosphere when it places the viewer in an environment reminiscent of a teen comedy. Fortunately, thanks to the fact that the director has a keen sense for music, there are at least an equal number of cases where everything is perfectly tuned, especially in more thoughtful passages. By this, I mean it took me nearly a third of the film to embrace this unconventional drama, but even at the end, I have the feeling that it didn't turn out as well as it could have. Perhaps next time, a departure from the theme of unhappy women could help. (04/30/2007)

Asking why Sofia Coppola actually made this blockbuster and looking for profound answers to it is pointless. The director simply wanted to make it because it seemed attractive and marketable to both the producers and the international audience. It is a well-known, emotionally charged story, set in such a distant history that it allows for any sort of personal interpretation of the nature, behavior, and value system of the former French queen without any problems. From a filmmaking perspective, it is not a disaster, although it should be noted that the film does not work as a story of the executed monarch, but rather sells the charms and acting skills of Kirsten Dunst, as well as the generous set design that at least partially attempts to convey the splendor and luxury of the royal court at Versailles. Unfortunately, the film's weakness lies in its script - and not just because it fails on a dramatic level. Marie Antoinette absolutely lacks a sense of capturing the mindset of the time period, which I wouldn't necessarily blame Sofia for, as the majority of so-called historical films do not address this either. What is worse is that the director fails to place the character of Marie Antoinette in a comprehensible historical context. It is telling that the Third Estate and the emerging civil society, which had such a fundamental influence on Marie Antoinette's fate in the last years of her life, are reduced to a group of people raising their hands in a demonstration outside the palace gates. Sophie wasted a unique opportunity to approach the character of Marie Antoinette in her own way, to give her greater depth, and although Kirsten Dunst is almost constantly on the screen, the audience definitely doesn't experience any deeper exploration of her character's thoughts and inner world. A separate chapter is the soundtrack, which, in my opinion, absolutely doesn't suit the events on the screen. Modern music occasionally suits a historicizing film, but here it is significantly disruptive. Overall impression: 60%. (03/19/2017)

Excellent! Marie Antoinette is such a sweet, pink Amadeus, you could say. The film got me mainly with its playfulness, Kirsten Dunst, the sensational soundtrack, thanks to which we hear classic songs and rock songs, hundreds of beautiful costumes and a number of excellent actors in supporting roles (Danny Huston and Steve Coogan deserve to be highlighted). A big surprise! (07/24/2010)