Marie-Antoinette

This movie will probably never be excelled largely because of the casting. I don't believe that anyone will ever find better actors or actresses to portray King Louis XVI and Queen Marie Antoinette than Robert Morley and Norma Shearer. The black and white aspect of this great classic film is simply spell binding in its interpretation of the life of the Royal Family. Color will give it a different dimension. The manner in which the conflict of the ensuing mob marching upon the Versailles is well portrayed. I especially like the sense of paranoia and fear that grip the Queen and her entourage. The use of the outside gate is especially endearing to me, reminding me why it is that King Louis XIV created the Château d' Versailles in such a distance from Paris. Unless one knows the history of the Château, nobody can truly appreciate the march of the Faubourgs. Excellent film, and I recommend seeing it before any other on the same subject!

This is a fantastic movie, a real emotional roller coaster, one feels emotionally exhausted at the end, the last 20mins are truly harrowing. How Norma Shearer didn't win the academy award for best actress is beyond me. Other great performances include the debut of Robert Morley and the incredible acting of Joseph Schildkraut, the makeup he wears must have been truely scandalous at the time. The costumes are spectacular you really are taken back to the late 1770's. another point of note is how Norma Shearer ages in the film is incredible, from the young girl in the beginning to the much older broken woman at the end, very well done indeed. Tyrone Power is very good as well, one can go on for ages about Marie Antoinette, it truly is a spectacle in the grand MGM scale. 8 1/2 out of 10!

MGM's lavishly budgeted look at the French Revolution during the reign of King Louis and his famously selfish MARIE ANTOINETTE spares no expense in detailing the grim background of court conspiracies and the people's unrest that led to their downfall.

Too bad none of this eye-popping splendor wasn't captured in Technicolor, as originally planned--but with a budget well over 1.5 million it was decided to film it in glorious B&W. No matter, it's still a spectacle for sore eyes.

There can be no doubt about NORMA SHEARER's triumph in the title role nor is any of the acting in the large cast below standard. ROBERT MORLEY as the weak and indecisive Louis is immensely touching and effective as he realizes the gravity of their predicament. JOHN BARRYMORE is fine and Joseph SCHILDKRAUT is wonderful as an aristocratic fop. TYRONE POWER lends his romantic presence to a role that requires little more than his good looks. He and Shearer make a physically appealing romantic team.

It's interesting that Irving Thalberg died before production began on the film. One wonders whether his influence on it might have made it an even stronger production. There are definite lulls in the telling but it builds dramatically to all of the final scenes. It's the kind of film that leads one to read more about the actual events and that's always a good thing.

Summing up: Sumptuously produced, well acted and well directed--what more could you want for an interesting glimpse of a life of royalty among a time of social upheaval? Shearer's triumphant return to the screen after a two-year absence.

This film boasts a number of wonderful performances and is a great example of film acting in the thirties and the power of the studios. Robert Morley steals the show as Louis XVI, but equally fine are John Barrymore as the dying Louis XV, Gladys George as Madame du Barry, Joseph Schildkraut as the Duke of Orleans and a whole slew of wonderful character actors who enlivened even the smallest role. Norma Shearer admirably tackles the nearly impossible task of portraying the life of Marie Antoinette from a young girl to a broken woman on her way to the guillotine. In the style of the time, the film has a tendency toward histrionics but for the viewer with patience the overall effect is fascinating. Of special interest to students of art direction. The sets and costumes are incredible.

As a young actress still in her 20s, Norma Shearer was hailed as the First Lady of MGM, and she reigned as queen of the studio throughout the 1930s. For about two decades after early retiring in 1942, she was fondly remembered by fans and critics, but slowly she was mostly forgotten. Then in the early 70s, antagonistic film critic Pauline Kael, grudge-holding MGM rival Joan Crawford and others took delight in trashing her, usually with the implication that Norma's greatest talent was finding a powerful husband (Irving Thalberg). Unfortunately, those unfair remarks carried great weight since Shearer's movies were unavailable on video and rarely shown on TV.

We're now able to see her talent for ourselves, thanks largely to Turner Classic Movies, and Norma Shearer's star is rising again.

If you've never seen a Shearer movie, Marie Antoinette is a good beginning. It is one of Hollywood's great epics of the 1930s, with lavish costumes and scenery, and its historic setting holds up well. Shearer plays the doomed French queen from teenager to the Guillotine, and the final scenes as she awaits death in prison are among the finest of her career.

In recent years, Shearer has gained new respect for her silent and pre-code films, in which she was one of the most accomplished young actresses of the era. She often played sexually sophisticated women with a sly wit. She was not a typical ingénue, and you can see why audiences of the time were enchanted by her.