Luis XIV, el rey sol

The movie misses a better plot, it deserves a better plot when shooting at the Versailles and dealing with Louis XIV. Not that it is bad, just don't expect too much. The costumes, the location, the music, the historical facts, it all seems to be present, but the director just didn't make good use of it. It is an entertaining movie for those who like costume-dramas though, be not mistaken. I had expected it to be better. The characters are well drawn, the actors are good enough, especially the Queen and the Dance Master. The director did not fear the use of some explicit body-language, something that I applaud, it fits well in this landscape of courtly love.

What a relief to see a film about the 17th century that does not feature Gerard Depardieu! Wonderful fashion detailing and locations support a serious history lesson on how music and theater were key to the success of Louis XIV. One of the best exemplars of how young men measure themselves by their physical abilities, the film provides a unique timeline for the long reign of Louis. He grows from an unsure child into a confident (well, yes, arrogant) man -- and partly this is accomplished through his passionate involvement in music and dance. Think of the foolish Emperor in "Amadeus," telling Mozart there are "too many notes," and then see this depiction of a king who actually understands and appreciates music. Yes, of course, peasants were mistreated and millions starved, but we don't see that part of 17th century France. That is another story, another film. This one is stunningly beautiful; like great art, some of these images may never fade from your mind's eye.

Having purchased the CD of Le Roi Danse, I was looking forward to the film. At last it was on in Norwich on Tuesday 17th September and I was very impressed with the story-line, acting, and of course the music. It begins with Lully preparing to conduct his sumptuous music whilst waiting for the King. Being very impatient, he begins without him, and subsequently stabs himself in the foot, which ultimately leads to his death. The film then drifts back to his introduction to the court of Louis 14th - The Sun King with all its' splendour. If you love the music of Lully, you will not be disappointed. I am hoping that this film can be purchased, either on VHS or DVD - I would certainly buy it.

This movie focuses on one side of Louis the fourteenth's reign:the patron Sun King.All the best artists who were living at the time were working for the King,from the painters to the musicians to the chefs (see "Vatel" whom Louis stole from Fouquet).

Although a lot of famous historic characters appear (Colbert,Louvois,La Vallière,Maintenon),only five emerge :the threesome KIng/Lulli/Molière and ,at the beginning, two silhouettes ,the Queen mother,Anne d'Autriche ,and the king's cousin,Conti.

The king,played with talent by Benoit Magimel,who shows himself a first-class dancer ,is not exactly the king we find in history books:okay,he rules alone,but a lot of time is given over to arts ..in the first part of his reign,the king was first a soldier :the fine arts connoisseur came only second.(music,dance,gardens...).

Lulli (or Lully depending on whom you ask)was an Italian,so it's very surprising -and it's the main flaw of the whole film- he speaks without the slightest accent.Of course,and probably because c'est à la mode,the director doesn't pass over Lully's homosexuality but he does not lay great stress on it,preferring to give music more than its due:Lully's was majestic and magnificent,the KIng Music par excellence.

Tcheky Kario shines as Molière and gives what will probably be his lifetime role.A jaded and coughing actor/playwright/director whose genius was still brilliant,he had to cope with sanctimonious persons (les dévôts de la compagnie du Saint-Sacrement)and leter with Lully's jealousy.

The last Lully -Molière collaboration,"le bourgeois gentilhomme" (arguably Molière's funniest work),made Molière a visionary who was beginning to see theater as a complete show .The Turkish ceremony " in "le bourgeois gentilhomme" and its celebrated menuet (sadly not included in the film) were forerunners of the musicals.But Lully,who played the "Mufti" in the play ,felt like a buffoon and feared that the king might favor Molière over him.

Lully wanted to be a king and" a king ain't satisfied till he owns everything "as Bruce Springsteen sings ,so the dancer became a wolf .Molière was not his one victim :he actually put down all his rivals and had a complete stranglehold on the king's music.

Some users complain about Courbiau's baroque style:since at least one third of the time is dedicated to arts ,what's the point of being realist and austere ?We're not dealing with Rossellini directing "la prise du pouvoir par LOuis XIV",dash it! Okay ,some sequences are ponderous -Molière's death on stage while playing "le malade imaginaire" did not need this dancers dressed up as skeletons,for instance.But if cinema means change of scenery,"le roi danse" pulls it off with gusto.

Just arrived home from a jump into the 17th century at the royal court of Louis XIV. This film gives you an excellent inside look of one of the most protectors of the arts. You may find the story a bit thin, but the images are very carefully chosen and composed. It's not an ordinary costume show and happily made under the supervision of culture historians. Maybe the music does sound a bit the same during the film, but it also let you hear some magnificent moments. I enjoyed this movie very well because of the richness of the photography and the well balanced cast. I recommand this film to those who love western culture during one of the highest levels, the baroque.