La presa del potere da parte di Luigi XIV

This film was made for French television in the 1960s and was to be accompanied by Pierre Goubert's Louis XIV and Twenty Million Frenchmen, a book that is still available.

Rossellini, in obedience to the rules of Italian realism, looked for someone who looked like Louis XIV as he conceived him to be. He found him with mailman Patte. Unfortunately, he misunderstood his history. We know that Louis XIV was probably no taller than 5 foot 4 inches. We also know that in later life the king tended to be pudgy, but this was not true or at least not reported by our sources. In fact, from age 16 until age 31 Louis XIV was a dancer who performed in court ballets. No one describes him as being fat. Patte is a pudgy short man by our standards today. What Rossellini either did not know or chose to omit is that all Frenchmen in the seventeenth century were short by our standards. Thus, in this film we see a short fat king of seventeenth century size striding amidst twentieth-century actors. If he wanted to show Louis XIV in real size, he should have made everyone else seventeenth century size.

The film does a good job at showing the atmosphere at the death of Mazarin and the king's efforts to make his court in his image. Unfortunately, the lack of budget shows when the king tries to instill some majesty. He is reduced to wearing ribbons rather than sporting jewelry and fine clothing. Also, the surroundings are rather bland, like they look today, rather than resplendent with decoration and luxury.

Rossellini makes his points and the film works for educational purposes but there is no real drama. Everything moves slowly. The viewer is left wondering what is happening and why should we be watching.

First, some stats for anyone looking for "official" validation of this movie. In the Village Voice End of the Century poll of movie critics, THE RISE OF LOUIS THE XIV placed behind only THE BICYCLE THIEF among all films directed by the major Italian neo-realists (De Sica, Visconti and Rossellini). I myself find this to be a stunning result, given that what other Italio-neo-reo films there are (OSEESSIONE, OPEN CITY, PAISAN, LA TERRA TREMA, UMBERTO D, VOYAGE TO ITALY, SENSO, THE LEOPARD...) but LOUIS XIV's placing is not undeserved. In fact, in its own perverse way, it may very well be the apotheosis of the neo-realist aesthetic.

I make this claim on several counts. First, of the Rossellini films I've seen, this one is pretty much the only one where Rossellini makes a wholesale abandonment of melodrama and completely embraces an objective documentary style that generates meaning through the patient, cumulative observation of scenes and settings. To really see the progression, we can make a comparison between this film and his earlier masterpiece STROMBOLI. Both films feature a protagonist at odds with his/her community, especially in matters of ritual and custom, which both films do an astounding job of capturing. Of course, whereas the heroine of STROMBOLI rejects these rituals and customs, eventually leading to her exile, Louis XIV decides to play the rules of his society to his advantage, literally wearing his hedonism and flamboyance on his sleeve -- and everyone else's. But this difference does not reflect what has evolved in Rossellini's filmmaking. The key difference is that with LOUIS XIV Rossellini does not once resort to the stormy passions or underlying rhetoric of his ealier work -- instead he chooses to let the moments speak for themselves. The moments he captures achieve a level of unspoken subtext unparalleled among his peers; nothing is given away as obvious, every moment and gesture feels utterly natural, and yet must be read and interpreted to generate the film's overall meaning.

The achievement is all the more remarkable given that the film itself is largely about the power of presentation -- which is certainly a central aesthetic theme of the entire neo-realist movement. Though the film is set in an ornate past that seemingly has nothing to do with the impoverished environs that have set the stage for countless neo-realist films, this radical change of time and place only adds more depth to the film's exploration of realism. Just as Louis creates an ornate reality full of lush surfaces with which to control his subjects, Rossellini has created a reality that is so detailed that it threatens to consume the audience in the illusion of a recreated time and place.

However, the generally maudlin cinematic powers wielded by DeSica/Zavattini, Visconti and early Rossellini seem almost totalitarian compared to what Rossellini does in LOUIS XIV -- people who complain that this movie is a slow, lethargic bore are missing the wonders of the observant moment that Rossellini constructs for our scrutiny. So much of the film is told in non-chalant moments, such as the dying bishop refusing to see the king until he has put on his makeup, or the way King Louis nonchalantly takes his mistress behind a bush while the rest of the procession is forced to stand by and wait. Like Louis' subjects, the audience of the film inhabits a perilous position, where either they dig their way through the seemingly harmless and inconsequential surfaces of what's being presented or risk being stranded in a meaningless cinematic experience. To which one may ask, what incentive does the audience have for having to try this hard? Well, a new appreciation of how cinema works, as well as history and politics, for starters, not to mention how all three might work together. With this film, Rossellini finally turns over what the neo-realist movement had been doing all along, knowingly or not: using the presentation of "reality" as a political act. This time, instead of spoon-feeding the audience with his agenda, he invites us to assume the position of power, taking an active role in the making of meaning.

I've gone on for much longer than I expected but now that I've given this film a lengthy moment of consideration I am convinced that this is one of the most brilliantly understated masterpieces of cinema -- now I can't decide whether I like this film more than STROMBOLI. In any event, it is also one of the greatest historical films, as well as one of the greatest films to examine the idea and nature of history -- as such it belongs in the company of THE TRAVELLING PLAYERS, PLATFORM, CITY OF SADNESS and THE PUPPETMASTER (or if those are too high-falutin', there's simpler stuff like THE MAN WHO SHOT LIBERTY VALANCE).

Louis XIV was not judged by his contemporaries to be much of anything while Mazarin was alive. This film shows how with brains and style, he consolidated power by subtly weakening the nobility of France with "circuses and bread." Aristocrats obsessed with the King's latest style of coat while competing for his favor were not going to wage petty wars or rebel again. To keep them placated and diverted, Louis built Versailles - L'Île Enchantée, the 17th century version of Disneyworld. In that island of wonder and diversion, he turned his fractious nobles into groupies, hanging on is every word and gesture. He gave them plays, operas, masques, fine cuisine, wine, fabulous gardens to play in, and a style of living that required more money than their estates could earn. Versailles was their golden cage, and even with the door open, none wanted to fly out. A little more than a century later, his great-grandson would die on the guillotine, an end whose beginnings were sown in the isolation and excesses of the court he created to consolidate his power.

King Louis XIV ruled France for a vast period; the movie follows him assuming power after the death of powerful chief minister Cardinal Mazarin. The movie is focused on initial years of his rise to power and lifestyle as that of a king, however, we do not see much of a struggle to retain power or the usual castle intrigues.

Essentially, life of the king is focused in court and castle surrounded by important political, cultural figures and of course beautiful ladies all attired with glamorous costumes. The king is seen enjoying life at court and royal hunts with some personal moments; however, it can be felt that no moment is a personal moment as a vast presence of nobles is seen around on almost all occasions.

Though the level of acting performances is observed average, the film setting and direction is par excellence and a best example of film direction by film director Roberto Rossellini.

I'm going to go ahead and make the rather bold statement that Rossellini's biographical films are the true end and completion of the project he started with the neo-realists. I do this in a rather roundabout way involving personalist philosophy and Andre Bazin, but what most interests me is where the other neo-realists ended up. Fellini found a strange hybrid with elementary surrealism, De Sica plunged into sentimentality, Visconti's outlook became increasingly epic and grandiose. But in Rossellini we arrive at pure personality, and pure reconciliation of physical circumstances and self-determination. It is apparent that this is not a typically exaggerated biography, but this is not mere truthfulness. It's all in the approach, and Rossellini understood this perfectly. The shots are very characteristic, and the sets have a low-budget, but Rossellini's vision is the dominant, and very welcome, force of the film.

5 out of 5 - Essential