Die Prinzessin von Montpensier

Basically everyone falls in love with the Princess. That's the underlying premise, along with how the Princess herself, a superb performance that outshines many other aspects of this movie, has to deal with each new challenge/suiter as they present themselves. The story itself is a melodrama essentially, brightened, ironically, by a very chivalric spirit that imbues all the main players. The boys truly are dashing. In that regard I can see this movie being popular. For me though, it fell down on things such as very conservative lighting throughout, and inconsistent cinematography. Some of the outdoor shots were beautifully framed, but others were a little drab or repetitive, and overall it could have had more colour. The action scenes were way too tame, though I'd admit by keeping them so the movie may have wider appeal. Lots of sword fighting was consistent with the overarching chivalry, true. It's a very long movie. As a sort of feminist piece it probably has more value than I honestly understand. To be sure, women of the 16th Century were not well-handled, and perhaps that is the better way to view this piece, because, at a minimum, you can't say the Princess doesn't have pluck when it comes to asserting herself. Perhaps, in that, there is a true romance here.

I am a big fan of historical dramas and have always thought that French directors do them very well. This, however, was one of the poorer efforts I have seen. I wouldn't be as hard on it as the reviewer who gave it 1 (awful). I found it absorbing enough but rather too long. The battle scenes seemed authentic in showing what it probably was like back then. The portrayal of life in the 16th century was good. The problem was with the characters who didn't have much depth in my opinion. To Richard I would mention that it was not uncommon in those days for masters and servants to sleep in the same bed. It had no sexual connotations. I think it was just for warmth.

Basing a long film on a short story is usually a risk; the story often runs thin before the long film is complete. This is most assuredly NOT the case in Bertrand Tavernier's decision to adapt (with François-Olivier Rousseau) the short story 'La Princesse de Montpensier' written by Marie de LaFayette (1634 - 1693) and published anonymously in 1662. Of note, La Fayette's most famous novel was 'La Princesse de Clèves' (1678), first published anonymously in March 1678. An immense success, the work is often taken to be the first true French novel and a prototype of the early psychological novel. This film is one that both entertains in the manner of the great epics of the screen, but also teaches us about the religious differences between the Catholic and the Huguenots (Prostestants) during the 16th century while at the same time addressing from a near feminist point of view the manners of courtly versus passionate love in that fascinating period.

Very briefly, Princesse Marie de Montpensier (Mélanie Thierry) is married to Prince Philippe de Montpensier (Grégoire Leprince-Ringuet) in a marriage of convenience arranged by Marie's father: the rare beauty of Marie attracts the attention of all men, a fact that drives Philippe to rages of unfounded jealousy. France is in the midst of religious war and Philippe is off at war with his tutor Comte de Chabannes (Lambert Wilson): after a particularly grueling battle in which Comte de Chabannes kills a pregnant woman and a child he informs Philippe that he can no longer stomach war and asks to return to the palace where he will continue being the tutor of Marie in Philippe's absence. Marie and Chabannes become close as he teaches her to read and write - during which time Chabannes secretly falls in love with Marie. But there are other men who would woo her: Duc d'Anjou (Raphaël Personnaz)- the youngest son of Henry II of France and Catherine de' Medici (Christine Brücher), the man history books have described as gay and who courted England's Elizabeth I unsuccessfully, and Marie's childhood friend, the handsome but battle-scarred Henri de Guise (Gaspard Ulliel). The story successfully eaves the course of the war between the religious factions and the drives and promises and desires of the four men to win the affection of Marie. Court intrigues, duels, secret meetings and the power of nobility push the story to a surprising but well designed end; passion of the heart can be destructive.

Mélanie Thierry is brilliant as Princess Marie de Montpensier and is supported by equally fine performances by Wilson, Ulliel, Personnaz, Leprince-Ringuetand a very strong supporting cast. The period costumes and customs are perfectly realized, the cinematography by Bruno deKeyser and the musical score by Philippe Sarde enhance the rich tapestry of this Tavernier masterpiece. In French with English subtitles.

Grady Harp

to a bizarre and fascinating world. a kind of fairy-tale. charming, tender, delicate. a remarkable director, a beautiful text by Madame La Fayette and nuances of acting. nothing else. it is not a great film. it is only perfectly French. it is not an event or revelation. it is slice of a time - gray, cruel, ambitious, selfish. but not the period is the axis. essence is the nice performance of Melanie Thierry, the precise definition of character potential by Lambert Wilson and, of course, Gaspar Ulliel . result - a form of delight. all usual ingredients. and little more. history, love stories in different forms and Evelina Meghnagi in a real fascinating role. good work of master Tavernier.

I'm a sucker for period pieces and this one delivered on all the parts that I love. Great costumes and art direction. Breathtaking scenery complete with castles set among hills ablaze in autumn colors. And oh, the fabrics!!! French is always beautiful to listen to, but this film was simply music to the ears. Gorgeous use of language. Thundering horses, clashing swords, unrequited love. Shamelessly romantic while showing how tough life was. War was miserable. No escape from the rain and cold. Women's lives sucked, even if rich. Catherine de'Medici was superb. The acting was good enough for the characters to be convincing which is what I care about. I was transported. That's what I want. Lots of films about Tudor England which is same time period, but few about Catholics and Huguenots. I'd see it again.