THE MOVIES - marie antoinette

i've only watched 3 movies in cinema so far in this 4 months. amazingly expensive to hide out in the dark. does that show how unfamiliar people are to movie that it has to be so expensive, or is it that filmmakers are starting to demand too much from their audience? £9.5 for a movie, i want to be a producer.

MARIE ANTOINETTE
i personally couldn't agree more with the fact that there are too many EPICS in the movie industry. big production on historic fairytales, PERAL HARBOUR came vividly into mind. it's a cliche today to make an EPIC. marie antoinette is not an epic, it is a lullipop ride of polaroid shots and chic music and lots of champaigns and cakes and ribboned highheels. the powder blue sex pistol style poster with Dunst in french hairdo is very tempting i must say.

from the proposition of 'not being stunningly epical', it turned out to be a soft and intimate protriat of a character. I do not know the real person, so judging from the movie, she is a very adorable but melancholic little girl, been assigned the pressure of the entire country on her shoulders at the age of 16, and led an empty life within the confines of a beautiful palace. We, as the audience, are targeted to experience the same emptiness and fake happiness that the heroin has tried to fill her life with, music, parties, gamblings and loads of nonesense. Some find it meaningless including these in the movie, which is said to have no storyline and progress, but in my opinion, this is what life is. Emptiness and devastated, we find a way to release and fulfill our desire. Perhaps these people find it meaningless because their lives are starting to be as meaningless by now.

STILL LIFE. there are various scenes that are still shots of a scene, may it be on the heroine's tub while she baths, on the palace fountains, on the grand stairways, in the garden with green turfs and sheeps, on the dining table with beautiful asparagus mountains. The scenes are so colourful that it is meant to be absorbed, withhin the time given, but the characters are not as much of an eye candy, where they are stiff, awkward in their situations, and are simply trying to break through, no matter into having sex with the tupid husband and future king, or calling a terrible singer off her stage. still life is a potrial of fakeness and an absprtion of the contradiction.

MUSIC. the most talked-about thing of the movie is the choice of its soundtracks, mostly from the 80s new wave gurus, gang of four, bow wow wow, souixie and the banshee, etc. this is a twist. it turned the story into a modern protrial in 16th century french flair. they danced like in the discoteque, they play games in al fresco tent dinner making fun of big names like MOZART. theve have given the audience an approximity to get into the characters and find their associations with them, and also diluting the time frame of the movie, while Kristine Dunst could also look like she is that timid girl in THE VIRGIN SUISIDE, lying on the lawn and daydreaming about love, with her straightened hair and awkward american accent, which has no contextual relevance with the French Versaille at all.

the movie is definitely not as right to the point compared with LOST IN TRANSLATION, but the intellectual humour (the imaginary affair with the captain into Napoleon on the battle field, that's hilarious vs. Bill Murray shooting the alcohol commercial, that's even more hilarious), the particularity in the search of beauty and composited shots (the 4 girls sitting at deliberated while Marie Antoinette was reading, posing as if doing an polaroid oil painting vs the girls sitting at the lawn of the house in VIRGIN SUISIDE), the softness and refrain in handling the scenes (saying goodbye to the Versailles, and the scene shen she stood out the balcony and bowed at the mobs, with no chessy music and gradiose angles, as well as the numerous shots of the character towards the light source, giving a dreamy silhuette) are all very worth exploring. this is definitely not a badly conceived script i'm sure.

PS. you know what? this film actually reminds me of DUCHAMP playing around with MonaLisa. Not Dan Brown, just Marcel Duchamp. we don't fuck history, we reinterpret and re-contextualize it.