Le roi danse

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.

le roi danse feels like a french response to the excellent film "amadeus." a beautiful costume film with sumptuous scenes of dance and song, it takes its liberties with historical accuracy. we never get too deep into the characters louis xiv, lully or moliere, but with hints of obsessions (homosexual or otherwise) here and there, we understand them all well enough. if you're looking for something entertaining this film will undoubtedly please, though it won't make you think too hard. many of the reactions viewers have are probably quite visceral -- though the film talks about the loftiness of dance, it deals with the most basic of human motivations and feelings, of jealousy, lust, desire, horror even. there are a few wince-worthy moments (not for the squeamish), two specifically seem to book-end the film. they're not explicit, just painful, so the squeamish should be okay once these moments pass. le roi danse is not a terribly deep movie, but there's enough there to feel compelled by the characters, thus this is still compelling and astoundingly beautiful. on top of the great visuals and direction, excellent acting by magimel, terral and karyo all.

I just saw the movie during a French art and culture festival in Hong Kong. It was the answer to my quest for a movie that deals with the subject of King Louis XIV's passion for dance and that of Lully's influence in the king's life. (I had previously seen half a dozen movies dealing with the subject of Louis XIV but NONE even touched on the fact that he loved dancing.) I was thrilled by what I saw, especially "Le Ballet de la Nuit" performance in which the 14-year-old king was dressed in the fashion of Apollo and danced a majestic dance. I am surprised none of the comments mentioned anything about the choreography.

I had the fortune of meeting the choreographer of the film, Béatrice Massin, who attended the screening. She is THE authority of Baroque dance in France, after having worked with Francine Lancelot, who was the pioneer in the restoration of Baroque dance into its original form. Massin works with original dance notation materials from Louis XIV's time, especially the Feuillet notations, which provided very detailed and exact instructions on the dance steps used at Louis XIV's court. This dance form is very important because it is the origin of today's ballet, which has gone through a lot of transformations, especially from that of a male-only art form to one where the female dancer dominates the stage.

During production, Massin worked with the lead roles in the movie every day for three months, and she has high regard for Benoît Magimel. Though not a professional dancer, he attempted all the dance sequences with courage, never uttering the words "I can't." Of course, the repertoire of Baroque dance was wide-ranging and Massin could not possibly have included all the varieties of that era. She mainly worked in such a way to show what the director wanted. In the context of this movie, the director had wanted to show the masculine power that the king wanted to demonstrate, as a way to consolidate his power on the throne. So what we see in the movie comes across as very forceful, masculine movements.

One thing that the film has left out - what Massin feels as a mistake - is the character of Pierre Beauchamps. Beauchamps was the key dance master at Louis XIV's court and was responsible for dance education and choreographer, although he was also a musician - not as accomplished as Lully at that, while Lully's dancing skills would pale alongside Beauchamps'. In fact, Lully, Beauchamps and Molière were working very closely together. For me, it is a big, big regret that this movie, whose theme is Louis XIV's passion and talent for dance, has treated Beauchamps in such a dismissive manner (the only scene where he appeared was when the king asked him to leave the room and rearrange the choreography, to give it "more air!").

Another thing that I miss seeing is the establishment of l'Académie Royale de la Dance. Surely, the film shows that the king announced it in a royal decree as soon as he took over all the power upon Mazarin's death. But it would have been nice to see a snippet of the academy's activities, such as how the first group of professional ballet dancers were trained.

Unlike what some of the commentators here have said, though, I think that the film does have a deep aspect. The idea that Louis XIV cared so much about the art of dance and music and Lully's concept of music being something to make the king immortal -- points to the transcending nature of these arts. Although dance and music was used as much as a political tool for power as a form of entertainment at the court, I personally feel that the passion for dance and music - as a pure form of truth and beauty - is powerfully expressed through the dramatic performances of the actors and actresses in this film.

Anybody who loves the subject of Louis XIV, Baroque music, dance and ballet should go and see this film.

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.

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.