Jeanne du Barry

The main kick to see it is represented, no doubts, by Johnny Depp. Who, indeed, is a magnificent Louis XV. But the authentic gift is Pierre Richard in a surprising skin of duke of Richelieu or beautiful portraits of Dauphin and Marie Antoinette. , near the inspired portrait of La Borde proposed by Benjamin Lavernhe. A beautiful film for what you expect to define the beauty in a film about XVIII century. But little more that.

It is a film about seduction and loneliness and pleasure and compromises, lost and rivalry, rejection and life as circle but, in same measure, a fine - precise definition, subtle and some eccentric, of life.

Charming and provocative, not only for music, costumes or atmosphere but for fair reflection of fundamental truths.

In short, just delightful and a great Johnny Depp work.

Have always enjoyed movies about this fascinating time period, and never get too anal about historical accuracy. What's most important for me, as a movie buff is that the creators get the "heart" and the "atmosphere" of it across with the tools available. (Actors, camera,music,setting,costumes, dialogue and a solid story) The positives for me: There were some gorgeous costumes, hair, make up and settings which all seemed to be historically correct and if they weren't it didn't matter. The score was ok. Nothing of it stood out neither exceptional or terrible. The subtitles, often, were not clear in translation and that may of knocked my enjoyment of the movie somewhat. ( I watch subtitled movies frequently, and this is NOT usually a big issue) Seems like a fascinating story with some full characters but the story did not hit me as emotionally hard as I would of liked. It just didn't feel intimate enough for me.

There was some solid acting, but again, it was a story that didn't flesh out the characters enough for my tastes.

It was ok.

Jeanne du Barry plunges into the opulent world of 18th-century Versailles, following the remarkable rise of Jeanne Bécu (played by director Maïwenn herself), a woman born into poverty who claws her way up the social ladder to become the last mistress of King Louis XV (Johnny Depp). The film chronicles their unconventional romance amidst the whispers and machinations of a jealous court.

While Jeanne du Barry boasts undeniable strengths, it ultimately settles for a comfortable mediocrity. Maïwenn's portrayal of Jeanne is the film's heart and soul. She imbues the character with a sharp wit and a fierce determination to survive, causing you to admire her improbable journey. However, Depp's Louis XV feels muted. Trapped under layers of powdered wigs and regal attire, his performance lacks the spark needed to truly capture the complexity of a king burdened by ennui.

The historical context, though not deeply explored, provides a fascinating backdrop. We see glimpses of a society teetering on the brink of revolution, where the extravagance of the court clashes with the growing discontent of the people. This juxtaposition adds a touch of weight to the narrative, but the film doesn't fully explore the social commentary it seems to hint at.

Visually, the film is a treat. The production design meticulously recreates the opulent halls of Versailles, with rich fabrics, gilded furniture, and sparkling chandeliers transporting you to another era. The costumes are equally impressive, a dazzling array of silks and satins that bring the characters to life. The camerawork is steady, but doesn't take many risks, relying on traditional shot compositions.

The score is a pleasant mix of classical and orchestral pieces that complement the on-screen action without being overly dramatic. The editing is efficient, ensuring a smooth and brisk pace. The dialogue, however, can be uneven at times. While some scenes crackle with witty repartee, others fall flat, relying on exposition rather than letting the visuals do the talking.

Jeanne du Barry reminded me, in some ways, of Sofia Coppola's Marie Antoinette. Both films explore the lives of women who, despite their positions of privilege, are ultimately trapped by societal expectations. However, Marie Antoinette leans into a dreamlike aesthetic and a more melancholic tone, whereas Jeanne du Barry strives for a more grounded historical drama.

Overall, Jeanne du Barry is a visually stunning and entertaining movie that benefits from Mawenn's captivating performance. However, a shallow exploration of its themes and a somewhat underwhelming lead performance from Depp hold it back from greatness. If you're looking for a lavish historical romance with a strong female lead, this is worth watching. But for those seeking a deeper exploration of the characters and their place in history, you may leave with a desire for more.

The movie is truly beautifully designed and is filled with magnificent shots of Versailles. The locations and costumes have been carefully chosen and are a feast for the eyes. The story and the dialogues are entertaining enough to keep you engaged. Johnny Depp makes for a fantastic French king.

The film is directed by Maïwenn, who also plays the lead role. I can understand that a woman wants to play the role of Madame Du Barry (and she acts very well) but I don't see Madame Du Barry; I see Maïwenn. Her beauty is exaggerated. She has a coarse face with a huge mouth and a large set of teeth that give her a somewhat masculine look. I find her charming and likable, but I can't find the subtle, enchanting Madame Du Barry from the stories.

Although Maïwenn plays a character role, it's never explored and it's never really clear how her ambitions relate to her love for the king. Their love lacks intimacy and becomes somewhat understandable only towards the very end. But then it is too late for drama. The only drama in the movie comes from Benjamin Lavernhe. That man deserves a leading role.

Very much in the vein of the recent "Versailles" and "Marie Antoinette" serialisations, this rather opulent drama shows us a little of the excesses and ridiculousness of court life in 18th century France. This time, it's Jeanne Bécu (Maïwenn) who is the shrewd young woman who quickly learns how to use her "charms" to get on in life. Eventually, she is noticed by the ambitious Count du Barry (Melvil Poupaud) who is friends with the Duc de Richelieu (Pierre Richard) who happens to be a procurer of fun for King Louis XV (Johnny Depp). Nervously introduced, she pours a little scorn on the silliness of court protocol and provides him with quite a refreshingly honest companion. Of course, his daughters immediately take offence and the arrival of Marie Antoinette (Pauline Pullman) to marry the Dauphin (Diego Le Fur) ensures battle lines are quickly drawn. The now married Countess du Barry cannot remain at court if she is constantly shunned by the Dauphine, so a bit of well costumed political intrigue ensues as the King and his mistress struggle to find a little recognition for her and happiness for them both. I found there to be quite an effective chemistry between Depp and Maïwenn, especially during the protracted malarkey that was his morning levée, and I loved the absurd wigs on his disproving daughter Princess Adélaïde (India Hair), who led a troupe of her entitled and unpleasant sisters like ducklings along behind her. It's a gorgeous film to watch, the beauty and grandeur of his palatial home and the whole aesthetic really works well at delivering a grand environment for the plotter and the sycophant. Depp doesn't really have too much to do here and the writing isn't the best though. At times it renders it little better than a very well produced, expensive, pantomime and I could have done with just a little more character development of both the principals here. That said, it's a classy and stylish piece of cinema that looks very impressive on big screen.