Growing up in the shadow of a father who crafted some of the most influential and talked about films of the 20th century, would likely be a lot for anyone. Especially if you have grand creative dreams as well. And especially if that father was Francis Ford Coppola, who brought The Godfather to the screen. And you were Sofia Coppola.
That is quite the pedigree to have and some may argue nepotism is afoot. But Sofia Coppola in her directorial filmography has proved more than deft at taking the profession in her own hands. Coppola has come forth as one of the most prolific and talked about female filmmakers of the last 20 years. Bringing forth film after films that are each unique. Yet linked with a certain aesthetic flair and eye for detail.
This particular talent for impeccable attention to detail is on full display in her third feature film Marie Antoinette (2006). Quite often the period drama as well as the biopic are each viewed upon as grand but rather stuffy genres. You pretty much know what to expect. And although charming to escape into past windows of time, it can come across a bit austere depending on who is handling the material at hand.
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Suffice to say, you often do not come across a lot of creative experimentation in such films like those. That cannot be said for what Coppola brought to the screen with Marie Antoinette though.
Marie Antoinette follows behind Coppola’s debut The Virgin Suicides (1999) and sophomore feature Lost in Translation (2003). Both of which came onto the film scene to much praise from critics and fans alike. This film would see her reunited with the star of her first work, Kirsten Dunst. A collaborator who would work with her again in her last release The Beguiled (2017).
To say Marie Antoinette is a controversial historical figure is an understatement. From the heightened legends of her lavish lifestyle, to her dark demise, she has become almost less of a tangible figure of history books and more so someone of legend. It is not as if she ever had the privilege of leaving behind an autobiography for us to refer to. So we can only go off the perceptions others had of her, which may or may not be fair or flattering.
Was she just a latter-day rich bitch of her time in the vein of today’s infamous socialites? Was she a misunderstood girl who suffered from a bit too much naïveté? We may not know for certain, but Sofia Coppola’s interpretation of the infamous Queen of France, with its creative liberties, offers up a more sympathetic appeal to history’s unflattering gaze.
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Coppola on many occasion has reiterated that her film chronicling the life of the French noble was by no means to be looked at as a historically accurate biopic. A misunderstanding that upon its release garnered mix reviews and muddling opinions from critics and peers. Many of which viewed it as style over substance, and rather juvenile given the historic weight of the matter. Completely missing the intent behind it, which is based in dreamy wonder and a satire of the rich and famous.
Over time, it has found more and more admirers who appreciate and understand what Sofia was going for. In fact, it can be argued that her film and the filter she put her subject through has influenced how most view the doomed queen to this day. When one sees any artistically minded mention of Marie Antoinette now it is almost always dappled with pastel hues and viewed through candy colored glasses.
The film itself takes cues from the biography, entitled Marie Antoinette: The Journey, written by Antonia Fraser. Which was a more sympathetic account of the noble that was quite acclaimed. As well as viewed upon as extensive and balanced by critics. Coppola builds upon this foundation. Taking it further by making her historical drama one viewed through highly stylized expressionism. And almost satirical view of the heroine at hand.
Factual details are changed here and there at Coppola’s discretion. And most important beats of the Queen’s life are accounted for. Gone are the expected proper details and aged antiquities that would have been more period accurate. They are replaced with these figures who seem more like a brat-pack of today’s affluent and elite society. And they carry on gleefully and lavishly.
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Characters who walk, twirl and drift in and out of frame in costumes that bring to mind hand crafted french pastries dripping in accoutrements. Cakes, macarons, candy and glistening sugary fruit overflow plates in ensemble scenes as modern day punk-rock music blares through the grand dance halls.
If the balance between history and modern youthfulness was already fuzzy, one must keep an eye out for a pair of Chuck Taylor Converse sneakers amidst Marie Antoinette’s stately heeled shoes, and chuckle at Sofia’s well placed cleverness. Coppola’s Versailles may not be close to the one that was at the time, but it does bring to life a Versailles of dreams.
Sofia Coppola has more than proven that she is not just a lucky child of a acclaimed director. She herself is just as assured and deft in her own work as that of her father, Francis Ford Coppola. Her works continuously fail to disappoint. And even when not as universally appreciated due to their specific intimate nature, prove nonetheless their artistic merit. She has a trained eye which brings to life immense detail and is much appreciated and valued in our film climate.
Marie Antoinette is available to stream now on Microsoft Store.
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