La reina Margot

Back in 1994 ‘La Reine Margot' dispensed of every preconceived notion of traditional costume drama, bringing a radical and shocking slant on history. The lavish sets and costumes remained but the atmosphere was now tainted with bloodshed, poison, lust and incest. The regal palaces that were so stereotypically populated by loyal subjects are transformed into a viper's nest of power politics, schemes and deceit where royal heritage counts for little and deviousness is the key to success.

The year is 1572; France is torn apart amidst the conflict between Catholics and Protestants whilst the King is a mere puppet, first to his domineering, Catholic, mother (Catherine de Medici, played with superlative coldness by Virna Lisi) and later to the protestant leader Coligny. In a half hearted effort to bring peace to the land Catherine marries off her daughter Margot (Isabelle Adjani) to the protestant Henri de Navarre (Daniel Auteuil), a political manoeuvre that deludes no one. Margot and Henri are certainly a less than content couple; as they walk down the aisle they engage in a hissing match with one another where Margot succinctly informs him that ‘Just because we're married it doesn't mean I have to sleep with you' and suggests he steer clear of her bedroom. They also fail to adhere to any form of decorum during the wedding reception; whilst Henri brawls with the Catholics (and flirts with a very youthful Asia Argento, of xXx fame) Margot goes window shopping amongst the male guests, looking for a viable one night stand. When the wedding guests prove unsatisfactory she simply dons a mask and takes to the streets, masquerading as a prostitute, and continues her search amongst the hordes of Protestant soldiers, who have gathered for her wedding, eventually settling on the dour La Mole (Vincent Perez). However any illusions of peace are shattered after a botched attempt to assassinate Coligny, as the Catholics, fearing a revolt, slaughter 6,000 Protestants in what becomes known as the St. Bartholomew's Day Massacre.

The sheer horror of the massacre is reproduced with unflinching realism by director Patrick Chireau, who manages not only to shock but also recreate an atmosphere of utter chaos, exemplified by the moment when Margot is wandering amongst the palace corridors which have been besieged by soldiers and are strewn with corpses (Margot is curtly told ‘return to your room and lock the door'). Unfortunately some of the impact of the massacre is lost due to the fact that we know barely any of the characters who are being murdered and it begs credibility that the Protestants seemingly put up no resistance. One of the few survivors of the slaughter is La Mole, who is saved by Margot when he breaks into her chamber, looking for sanctuary, which Margot freely gives to him (and more). In the aftermath of the massacre Margot also manages to save Henri de Navarre, forging a valuable alliance in the process. However, suspicion has been aroused that she is a traitor and she finds that she is in a decidedly vulnerable position where her only hope of freedom is to flee to Navarre with Henri.

Isabelle Adjani, France's premier actress, delivers one of her finest performances as the stubborn and promiscuous Margot, who despite initially coming across as vain and conceited later earns our sympathy as she finds herself in an impossible situation, where her position in the royal family is of little consequence (her brothers love her in a perversely incestuous way and her mother sees her as an inconvenience and potential threat to her authority) and the threat of assassination always looms around the corner. Whilst the political manoeuvrings and power struggles are intriguing the same cannot be said for the tepid romance between Adjani and Perez. The pair lacks any chemistry; even their scenes of erotic passion come across as frigid and awkward. They make an attractive couple, but not a particularly convincing one.

La Reine Margot is also one of the most visually sumptuous films ever released; the big budget clearly didn't go to waste in recreating the gothic decadence of the period and the costumes were deservingly nominated for an Oscar. It's easy to view ‘La Reine Margot' as a precursor to the acclaimed 1998 film ‘Elizabeth', as both centre around a female historical figure who has to endure the conflict between Catholics and Protestants whilst surviving assassination attempts (usually via poison) and overcome tragedy as those who they care for are systematically murdered. Indeed if nothing else ‘La Reine Margot' provides a chilling insight into one of history's most horrific atrocities and offers an unsettling portrait of the moral bankruptcy that pervaded throughout 16th century society.

My Score: 8 out of 10

For the American people that have seen this excellent French movie, I will say just one thing: in many countries around the world we get to see movies from abroad with subtitles. Most of the movies that we see in South American countries come either from North America or Europe and we don't usually complain about the subtitles. Only kids movies are dubbed in Spanish. A great part of the romance or charm about French movies comes from the fact that they are actually spoken in French. Nobody in these films expects the rest of the world to understand as they speak but to make a little effort and appreciate the beauty in each language is something I think is missing in American culture. I've seen nothing but comments on how difficult it was for some members of the American public to understand this film. I only ask myself: in times of globalization, isn't it interesting to learn from people from other parts of the world in their own language, specially a French film based on a French novel by the French Alexandre Dumas, placed in the 16th century, directed by one of France's best directors and acted by some of the most wonderful French actors and actresses of the last decades? Would you want to see this film in English? Sorry, but I think you would be missing a great deal of the depth and emotion of this unique film!!!

Everything about this picture is beautiful, even the ugliness is beautiful...an oxymoron, but the only way I can describe it. This is a stunning tale of 16th century sex and violence, with a dirty realism, but still an overlay of beauty.

Isabelle Adjani is intense, beautiful, and sensuous as Margot, the highly sexed, intelligent and dutiful sister of the doomed King Charles IX of France. She is forced into a marriage of political and religious convenience by her bitterly ambitious mother, Catherine de Medici (Virna Lisi) to the repulsive Henri Navarre (sympathetically played by Daniel Auteuil). There is a tremendous amount going on, and Margot's incest with her brothers is more than hinted at.

The searingly sensual Vincent Perez plays La Mole, who eventually becomes Margot's doomed lover. Their first encounter is an acrobatic feat of anonymous sex in an alleyway that is breath-taking. Their later love scenes are intensely erotic. This film only becomes better on repeat viewings. I found I was able to grasp more on my second viewing. There is so much going on, so many twists and turns and shocks, and the film is also quite long. It never lags, and even Margot's grudging tolerance, if not love, for her husband, is believingly portrayed. Very highly recommended.

Alexandre Dumas should certainly be satisfied with this superb adaptation of his classic. The setting is excellent and it gives a wonderful image of 16th century France. Naturally the highlight of the movie is the re-enactment of the St. Bartholomew's Day massacre. The horrendous scenes of the murders in all their crudity are terrific. The actors did a wonderful job here. Isabelle Adjani is, as usual, terrific. Her nude scenes, depicting the queen's adultery, lust and incestuous affairs are acted in such a way that they are a form of art. Vincent Perez is in one of his best roles - his interpretation of La Môle is second only to his acting in "Indochine". The great Virna Lisi is simply marvellous posing as Cathérine de Médicis - no wonder she won the Best Actress Award at Cannes. She is the ambitious woman par excellence, stopping at nothing to get where she wants, not even if she has to see her sons being killed one by one and sell her daughter in a convenient marriage to unite the Catholics and the Protestants. The others, especially Asia Argento, impersonating the tragic countess Charlotte de Sauve did a good job too. A very well deserved Prix du Jury.

The St. Bartholomew's Day Massacre---not exactly a subject the average person knows much about these days. But, a VERY important part of French and European history nonetheless. The history teacher in me will now BRIEFLY take over: Like England, there was a lot of tension between the Protestants (Hugenots) and Catholics during the 16th century. However, unlike Henry VIII's ultimate decision to break from the Catholic Church, the French pretty much wiped out the Hugenots--those who were not killed fled abroad. Up until St. Bart's Day, there had been tension but eventually the king granted religious freedom to all. This was not to last, as a conspiracy was hatched and on St. Bart's Day, thousands of Hugenots were murdered. To commemorate this event, the Pope issued a special medallion and ordered a celebration. Not exactly one of the finer moments in human history.

The movie concerns the machinations leading up to the event as well as portraying the massacre and the after effects. I'm not going to say more, as I don't want to spoil it for the viewer. However, I will say that the writing, acting and pacing of this film were excellent and kept my attention throughout. This fictionalized account of this true-life tragedy is compelling.