Lady Oscar

Actually,to correct what another reviewer said(wanting also to correct a supposed error,but making a mistake),the anime "Lady Oscar(Rose of Versailles)" came AFTER the movie(that means almost an year after the movie was made) and WAS ALSO TARGETED TOWARDS THE CHILDREN.So,the movie is based ONLY upon the manga and NOT AT ALL upon the anime.Also,the "historical clichés" aren't "cliches",but REAL HISTORICAL FACTS and I really don't see why the movie shouldn't present them,like the manga did,too. To talk about the movie,as a Lady Oscar's fan,I would consider it somehow average.It has some good-or even very good-parts(the costumes,the sets,the music,some aspects of the play of some characters-I disagree with someone who said that the acting is "incredibly weak all around",because it's clearly not like that!) and some more bad parts(the way in which most of the characters were presented,different from the ones in the original story,the fact that some important events in the story aren't showed at all,the play of some actors,the ending which is an almost complete nonsense).But,in the end,it's,like I said,it's an average movie,though enough fans are,quite rightfully,disappointed of it.

This film is an absolute joke. The acting is so horrible that I got up during the film and went to check IMDb to have some entertainment from all of the scathing reviews I was sure I would find... Well, the critics didn't even bother to review it and the only published review was from a person who is probably related to the director or the producer. This film is so bad, I'm sure 40 years from now it will be a cult film simply for its downright awful acting!

To correct some inaccuracies in the above review, the anime "Rose of Versailles" came before "Lady Oscar," not afterward, and it was not targeted towards children. "Lady Oscar" is primarily based on the manga "Rose of Versailles" by Riyoko Ikeda, although it contains several plot differences from either anime or manga. The so-called "historical clichés" and the feminism the above reviewer cites are part of Ikeda's story and have nothing to do with the director of "Lady Oscar." I found the movie slightly disappointing in its variations from the anime and manga, but overall I liked it. It was nice to see the story of Lady Oscar presented in English, and I enjoyed seeing European actors filling the roles. Oscar's character differs greatly from her personality in the anime, but I found her much more personable in "Lady Oscar." I was disappointed, however, in the portrayal of Marie Antoinette as she was wholly flaky and unlikeable in "Lady Oscar" and lacked all the redeeming qualities she possessed in the anime. Also, the film overlooks the close nature of her relationship with Oscar as portrayed in Ikeda's manga.

I love the Rose of Versailles (Lady Oscar in West) original comics and was a pleasure to watch this movie. However it's necessary to say it's just for fans. When you previously know the characters and want to get in touch with an alternative point of view, it's OK, but if you take Lady Oscar as a movie about the French Revolution's or a cross dresser heroine, you probably would feel disappointed.

The work was not as good as it would be; some actors and actresses were not well chosen; main events were forgotten; and Oscar's personal drama lost force. But as I said, I liked it a little, because any Lady Oscar's product would attract me.

Jacques Demy's movie of Lady Oscar frequently moved me. It is not a "swashbuckler" in spirit, it does not glamourise violence; it is not a movie about "girl power". It is a tragedy that raises important questions about freedom and gender. After becoming father to a series of daughters whose mother dies in childbirth, Général de Jarjayes decides that his latest daughter will in fact be a son, Oscar, and brings her up to be an heir and defender of the de Jarjayes name. He is delighted to find her a position as bodyguard to Marie Antoinette. Oscar is unquestioning of the system into which she is inducted, a bubble of privilege, acid wit, and decadence. She is dutiful and she "knows her place". At the same time the young boy and later groom who was her companion when Oscar grew up seems to have much more class consciousness.

What her gender transformation helps to do is to de-romanticise the material, when Oscar accepts a duel, the result, devoid of machismo, comes off as a banal murder, which is precisely what it is. It is difficult to wholeheartedly see Oscar as an éoniste or transgender hero as her identity as Oscar is created for her by her father. Indeed her self-actualisation is intertwined with her accepting a more female identity. On the other hand she does use her identity as Oscar to react against male society, and becomes a role model for some of the Versailles women.

Oscar, despite adopting a male role, is not free. This is potentially quite an important point of the movie, equality and freedom are not the same thing. Her role is to hang around the wilful and indolent Antoinette, and she develops a strong sense that her life has become meaningless. To become a man is not to have meaning, it's an escape from a trap within a trap, the outer trap being the Ancien Régime in the case of this movie. When Oscar attempts to enter a regiment, her male soldiers refuse to obey her, and her superior officer gives her no support whatever. In any case the regiment only exists to suppress the people.

At a very late stage Oscar finds freedom in an act of defiance. You can feel the weight lift off her shoulders as she spends her first day as a truly free adult, despite residing in a prison cell. This feels very contemporary, freedom is something very few of us are born with, it's something we have to seize, it's profoundly personal and cathartic.

Another reviewer on this site refers to Barry Lyndon as inspiration, "Now the magic of that was its carefully spaced vacuums. It had engineered emptiness, something that only a master could do." That is definitely something Lady Oscar is attempting, in my belief it worked better than my fellow reviewer felt.

A note on historical accuracy. Thomas Jefferson described Marie Antoinette as, "...proud, disdainful of restraint, indignant at all obstacles to her will, eager in the pursuit of pleasure, and firm enough to hold to her desires, or perish in their wreck." That is exactly how she is portrayed in Lady Oscar by Christine Böhm. Jefferson also describes the relationship between the King and the Queen thus, "he had a Queen of absolute sway over his weak mind and timid virtue..." Again this seems to have been very well captured in the movie.

Lady Oscar is a politically complex movie which seems often to have been misjudged by relying on a fruitless comparative analysis with the animé and manga sources of the story. Whilst actually quite serious it does however have its gorgeous moments.