Un peuple et son roi

Allow me to speak plainly: I think this is enjoyable, and very well done much more than not, as it tells a compelling story translating to the cinematic medium select aspects of the French Revolution. It's an interesting and less common approach to focus not on the major events or most well-known figures, least of all at those times when they were most prominent or infamous, but on the intermediate days after the Bastille had fallen and before the greatest tumult had come. In so doing, the impression that we're given by 'Un peuple et son roi' ('A people and their king'), also known as 'One nation, one king,' is more of a perspective on the ordinary people of a country brimming with revolutionary fervor. That being the case, the original French title is definitely more appropriate than the common English one, and this impression is cemented as the writing and cinematography mostly focuses on tight groupings, smaller settings, and select individuals rather than grand overtures, sweeping vistas, or massive gatherings. Somewhat accentuating the point, at irregular intervals we hear the people sing, singing the songs of angry men - or rather, even more so, angry women - and they are not distinct, recognizable anthems but come across much more as impromptu calls to arms, expressions of solidarity, or derision targeting the ruling class. Moreover, there are some very recognizable names and faces involved, including of course Adèle Haenel, Louis Garrel, Gaspard Ulliel, Denis Lavant, and Céline Sallette. Yet regardless of the actors' individual star power, the historical prevalence of the figures they portray, or the prevalence of these figures in the screenplay, the balance that is struck for all is such that no one broadly stands out more than another in the proceedings, even if one is a particular fan of them (as, for example, I am of Haenel). Honestly, the core ethos underlying this film seems, appropriately enough, to have been "equality."

It's worth further observing that as the length progresses toward the inevitable, culminating in the narrative climax, one sees that at the same time that the movie has been showing us the less sensational side of these landmark years, it also shows how the foundation was laid in this period for the darkest and bloodiest portion of the timeframe. It's not so much that filmmaker Pierre Schoeller is declaring himself to personally be a monarchist, but rather, it's evident the thesis of the picture is that the questions that swirled amidst the Revolution and its actors before the king was deposed, the debate that followed the collapse of the monarchy, and the execution of Louis XVI all precipitated precipitated the Reign of Terror and its madness. Bleak tension and gloom slowly seeps into the feature as these notions solidify, not least with the aid of composer Philippe Schoeller. Though his score mostly keeps to the background, where it does rear its head the fraught, often discordant strings lend indelibly to a pensive atmosphere of dread, like proverbially waiting for the other shoe to drop. But let me again speak plainly to say that for as shrewd as 'Un peuple et son roi' generally is in exploring all this, the writing is also where it is pointedly troubled in some measure.

Broadening the scope of the storytelling so as to mostly sidestep the storming of the Bastille itself, and the other most exclamatory events leading up to the fall of the blade against the king's neck, is an enticing endeavor. Schoeller goes a little too broad, however, and the feature becomes less than specific or descriptive when it comes to the historical course of events during the spotlighted years. I would no more expect someone who is not French to know by heart every last detail of the period from 1789-1793 than I would expect someone who is not Japanese to know by heart any of the legislative debates and electoral results of The Land of the Rising Sun from the end of occupation following World War II through to the present day. Yet unless one possesses discrete knowledge of French history from this time, then events that are referenced, that play out in the background, and even some that are depicted will prompt a question of "okay, but what was this, though?" 'Un peuple et son roi' is more about Big Moods and Big Ideas instead of Concrete Facts and Particular Incidents - and there's nothing inherently wrong with that, for other titles have done much the same and made it work. In this case, however, the declination of total clarity comes off a bit like seeing the forest and not the trees, or perhaps failing to dot the i's and cross the t's. Hand in hand with this, the storytelling feels a tad unfocused as it goes along. Granted, such issues apply more to the front end, and the last stretch of the runtime is surely the strongest of all. Yet just as the film seems poised to end on a high note of quality, if a decidedly dreary one, the very last scene to greet us upends that tone and elevates the feeling of Hope that flourished immediately following the definitive end of the monarchy in France. These conflicting emotions are appropriate to the era, sure, but a delicate hand would have been required to dexterously blend them in just the right way to let the beat land, and Schoeller lacks it.

Be that as it may, while 'Un peuple et son roi' has its flaws and falls a smidgen short, it's still much more worthy than not. The writing is imperfect, but generally splendid; Schoeller's direction isn't especially remarkable, but is capable. While the actors are each somewhat sidelined in turn as suggested, I think all nonetheless give able performances, with Haenel easily standing out, and Lavant, for the strength of their acting. The costume design, hair, makeup, sets, and effects are outstanding, bringing this historical drama to vivid life with superb skill and care. And it's well done in all other ways, including Julien Hirsch's cinematography and Laurence Briaud's editing. Still, the whole is centered around the writing, at once the picture's best element and what in another manner holds it back. I do quite like this, I think it's worth checking out, and as far as I'm concerned it's better than what popular opinion would seem to portend. I do understand the criticisms and reservations, though, and I can't necessarily begrudge anyone who thinks lesser of it. When all is said and done I'm of the mind that this title isn't something one needs to go out of their way to see, but it's nonetheless deserving on its own merits, and even with faults stands well on its own. It's not a premier, essential slice of cinema, but 'Un peuple et son roi' is a good film all the same, and a fine credit to those involved.

Two hours for showing four years of the french bloody Revolution, Pierre Schoeller had to make some difficult choices : he decided to show the little people from the streets (having a stone in the belly) meeting and fighting the rich political figures (having how many roasts in the belly?). And most important, he shows women strongly speaking in assemblies. The casting is astounding, all the actors play with high energy and are possessed (Denis Lavant as Marat of course, and also Adèle Haenel unforgettable, and Laurent Lafitte as Louis XVI is imposing). The cinematography and editing are virtuoso (destruction of tower letting people from the streets having sun light, massacre of the Champ de Mars, execution of Louis XVI, ...). The original soundtrack is also attractive. I read in papers "Un Peuple et son Roi" is a failure, it's wrong, it's awful good, all the ending is gripping. Bravo, I wish success.

The main purpose of this fresco was to show the French Revolution through the eyes of the people , and to avoid a hollywoodian treatment. It was not the first time the French cinema had attempted such an approach : in 1937, Jean Renoir did it ,in his much-debated "la Marseillaise".

"Un peuple et son roi" is a curate's egg ; its first part does show the people , particularly in the storming of La Bastille ;a decent place is given over to women ,but why not mention the most famous of them all , Olympe de Gouges, who was ignored by the history books for years? Although they chose highly talented actors such as Olivier Gourmet ,it does not always work : one conversation,about domestic and foreign politics circa 1792 does not sound popular at all ; The scenes when Gourmet the glass-blower teaches his job to his apprentice ,is interspersed with scenes of the trial of the king ,(or it is the other way about?) :the connection escapes me,I fear ...

The storming of the Tuileries is a good moment but spoiled by the hackneyed trick of slow motion ....The humiliated king , who takes refuge in "la salle du manège" ,the Assemblée Nationale 's seat , who 's still got his hearty appetite ;the choice of comédien français Laurent Laffite is eminently questionable : louis XVI was an educated clever man,but he was gauche , oafish and not handsome at all ; when he's climbing the steps of the scaffold ,he's told " watch out,it's slippery!"(!) ,but the priest does not utter his famous " Heaven awaits on you,son of Saint-Louis". Marie-Antoinette ,in her short appearances ,is exactly how she is shown in old history books : aloof, haughty ; the popular Revolution was fueled by this hatred for the queen :why does one never feel it ,particularly in the women's march on Versailles in October 1789 which is almost treated as a musical whereas the words were harsh :" bread or the queen's guts !"

Unfortunately , and more and more as the film progresses, the people takes a back seat to the historic figures :Robespierre,Barnave , Saint-Just ,Marat,et al ; in Louis XVI's nightmare , even the former kings are summoned (they look like Madame Tussaud's wax models : the Sun King, Henri IV and Louis XI).

And the final scene should have seen through the populace's eyes , not on the scaffold ! It succumbs to the initial vice :hollywoodian to the core ; there are French movies about Joan of Arc where the stake is shown from a distance ,or not at all.

All in all, it's a decent show, but it falls short of its goal.

An inspired perspective about French Revolution. Beautiful cinematography. Admirable performances. And the sparkles of the change in realistic manner exposed. It is easy to critic it but it is not Danton , not the expected fresco , only a courageous exercise of reflection of small histories and their clash against National Ansembly. It is the film of memorable scenes. And that does it more than interesting, maybe useful for feel old events - fundamental bricks of the our present reality.

An excellent film about the French Revolution which is addressed to connoisseurs of this historical period without the slightest didactic pretention. Very good actors (Denis Lavant plays a more than convincing Marat and Olivier Gourmet is masterful). One deplores however the presence of Izïa Higelin (probably parachuted thanks to the name of her father) whose acting is painful and lowers the general level until the saving disappearance of her character. The scenes that take place in the assembly are perfectly documented. I would advise to read a good book on the subject before watching this film for those who do not know this historical period well, because they might lose the thread soon enough.