L'Anglaise et le Duc

I'm worried that a trend is developing (call it "Lucas's Disease") in which moviegoers care more about digital sets than the story being told. The digital sets in this film are very attractive and are used much better than in "Attack of the Clones." The performances are moderately good (The heroine's dependence on servants reminded me of Scarlett O'Hara).

Neither of these makes up for the poor script, though. The heroine's royalist sentiments are zero-dimensional ("But he's the king!"). Her flight from Paris is completely devoid of suspense. There's no indication of the smouldering romance that supposedly exists between the lead characters. But the worst part is the repetition! Characters repeat what they said in the previous scene, which was a summary of what happened in the scene before that. I sat through this twice (the flight from Paris and the return to Paris), but when it happened again (the vote), I WALKED OUT. I can't wait for digital sets to become the norm, so that people will again pay attention to the rest of the movie.

Oh, and I hope the next film about the French revolution doesn't have Republican soldiers who act like the Keystone Kops.

This film from Eric Rohmer is very, very unusual. While it's not unusual to use matte paintings to create effects (such as to paint in buildings in the background to cover up modern skyscrapers for period films), here Rohmer uses another technique--one I have never seen before in a full-length film. The movie makes no attempt to blend in what is real and what isn't. Instead, in many scenes, you have folks walking within giant paintings which appear to have been painted during the 18th century--when the film was to have occurred. It is VERY striking and very unusual--and you can't help but notice it.

The story is an essentially true story about a woman named Grace Elliott--a very, very interesting lady. She was the mistress of the future King George IV of Britain and after giving birth to an illegitimate child, she left to live in France. There she became the mistress of the King of France's cousin, the Duke of Orleans. However, the timing for all this was very poor. That's because a few years later, the French Revolution arrived--and her now ex-lover, the Duke, begs her to leave the country. She insists she's safe and time passes. And, as time passes, the country becomes more paranoid and more self-destructive--killing off aristocrats and foreigners in the wake of a now insane revolution.

At this point in time, the Duke and Elliott have changed. Now, the liberal-minded Duke has embraced the Revolution and is an official in its new government. She, on the other hand, is a die-hard royalist who really should keep her opinions to herself. Yet, despite their different paths, they remained friends--though there was a lot of tension between them, as the Duke eventually consented to the execution of the King--something Elliott had a hard time forgiving. What's next for this unusual lady? See for yourself in this excellent film.

The film was based in part on the autobiography of Elliott--which was published after her death. Earlier I said the story is ESSENTIALLY true because I did some reading and found that she had a tendency to sometimes 'embellish' the facts, though what's in the film is what occurred. Overall, a fascinating look into the insanity of the French Revolution and at a particularly unusual woman. Well worth seeing.

I found this film quite fascinating apart from the fact that it is a well acted, structured story. Set in revolutionary France it tells the struggles of a Scottish emigre royalist and her life during the revolution and her somewhat complicated relationship with a former lover a aristocratic Duke with revolutionary sympathies. Despite being a revolutionary politician the Duke is eventually consumed too by the revolution.

The film is fascinating on several levels. The relationship between the Lady and the Duke is at some levels a doomed love story. They are interestingly former not current lovers but continue to have fond (if not strong) regard for each other despite differing political viewpoints and comprimised actions during the ups and downs of the revolution & I found it interesting watching the strains placed on this relationship by the buffeting of historical events. I think this relationship is at the core of the film. Though I did enjoy the political side of the film. It is somewhat refreshing to see a historical epic from the side of the losers (the despised aristocracy). Rohmer resists the obvious counter point in the film of the film in showing a side/viewpoint of the poor majority. Maybe he assumed that most film goers would be aware of the social/political/economic conditions that lead to the revolution. Whatever the reason I think the film is stronger for it because we see the events through the eyes of the Lady and the fear and terror of the Royalists (and moderate revolutionaries ultimately consumed by the more extreme fires of radicalism). The victims are shown as human beings and not some carictures.

Having said that I enjoyed some of the ambiguities of the film. The aristocrat the lady helps is someone she held no particular high regard for in the Royalist days, and indeed first helps him only out of a sense of duty. Even Robiespierre, the radical, is shown briefly in the film. Instead of some frothing of the mouth caricture he is shown as a focused almost reasonable type. He stops one of his underlings arresting the Lady at a revolutionary tribunal saying the revolution has more important things to worry about. I think possibly these interesting ambiguities arise from the fact the story is based on the actual experiences of the Scottish Lady who transcribed them after her eventual escape to Britain after the revolution.

Finally a commendation to the two actors (the Lady and the Duke) who I really enjoyed. The Duke was particulary good,he was the right mixture of idealist,charmer and self important but endearing pomposity and you can see why despite all his faults the Lady was still hung up on him.

Eric Rohmer's "The Lady and the Duke". could have used a better translation for the title. "The English Woman and the Duke", perhaps, would have been more accurate. While it's obvious this film is not for everyone, judging by the comments to this forum, it is worth watching because in spite of the intricate pattern of the story, Mr. Rohmer has created a movie that could be seen as an art exhibit in a museum. The mixed technology used in the movie, ultimately, works well.

The strange story of Grace Elliott, a noble lady who had been the mistress of the king of England and of the French Duc d'Orleans, holds our attention. The setting is Paris during the days that followed the French Revolution. The country was in turmoil and the power was in the hands of the people, who couldn't care less for the aristocrats. The images show the agitators running around with heads of famous people right after their trip to the guillotine.

Grace relation with the Duc had ended, but she remains a true friend to the great man that is in danger, himself, of losing his own head. Grace moves through all the horrors around her without being able of an escape. She even has an enemy in her own house, in the form of the cook, Pulcherie, who would not hesitate to denounce her at the least provocation.

Watching the movie, at times, gives the viewer the impression one is going on a trip through the Louvre watching those huge canvases that depict this crucial era of the French history. Rather than finding the digitalization process distracting, we found it to enhance the film in many ways.

Lucy Russell, as Grace Elliott, does a fine job to portray this woman who saw a lot during her lifetime. Her French seems to be excellent, as it appears she is fluent in it. As the Duc d'Orleans, Jean Claude Dreyfus made a fantastic contribution making us believe he is the nobleman himself without any effort. The supporting cast also was great. As an ensemble piece Mr. Rohmer gets good performances all around.

For lovers of history, "The Lady and the Duke" will be an interesting movie to watch thanks to the vision of Eric Rohmer.

This film was shown as part of the 2002 French Film Festival in Sydney and it is certainly very French, being pre-occupied with the morality of the French revolution, here seen from the aristocratic point of view of Grace Elliot, the Scottish ex-mistress of both George, Prince of Wales (later George IV) and the Duc d' Orleans, cousin of Louis XVI (who was a supporter, initially, of the Revolution). As played by Lucy Russell, Grace is an unwavering royalist who goes on living her gentlewoman's lifestyle in and around Paris, regardless of the dangers, which are considerable for someone like her. She has no sympathy with the revolutionaries and is horrified by the execution of Louis and his Queen, which she observes from afar.

Having once walked out of an Eric Rohmer movie (`Clair's Knee') rather than die of boredom, my expectations were not high. This movie (taken from Graces' memoirs) is mostly talk - gentlewomen did not, after all, engage in much action – but she does harbour an aristocratic fugitive at one point, to the Duke's dismay. Grace's relationship with her ex-lover, the portly and rather pompous Duke (Jean-Claude Dreyfus), is an intriguing one. She is not able to exercise much influence over him, not because of any lack of persuasive powers, but because he is too weak and irresolute to follow her advice. As a foreign woman living alone (she was widowed a year or two previously), she needs a powerful friend or two, but the Duke, for all his courtly manner, isn't a lot of help.

The cast weave in and out of stylised (and digitised) backdrops and this production style fits in well with the historical setting. The sets are intended to be seen as backdrops, unlike, say, the Coliseum scene in `Gladiator'). This has the effect of focusing the audience on the actors rather than be distracted by the set. It was brave of Rohmer to adopt such an innovative format, but it works well here. There are a few dramatic moments such as when Grace is hauled before the local revolutionary committee on suspicion of spying for Britain (naturally the most handsome revolutionary takes her side). It is however basically a talk show (`what I did in the revolution I hated'), and often rather slow. Lucy Russell, though, is quite compelling as Grace, and this time at least I was not driven from the theatre.