Adeus, Minha Rainha

I love a good costume drama, but anything that includes Marie-Antoinette is apparently bound to be a repetition of the same old clichés over and over.

We get it, she was completely disconnected from reality, careless and pampered and bored and tended to for every bit a normal human being does itself. Age-old cliché that Marie-Antoinette was nothing more than a self-absorbed bimbo? Check.

We get it also, the French Revolution was an immense shock to the royalty and aristocracy; not only did they not see it coming, they didn't think it was possible at all to see the end of their reign. Again, the tried-and-true representation of 18th century French aristocrats as clueless morons? Check.

So, after reinstating the same backdrop again (and again), this version puts forth a bigger focus on rumours of a lesbian love affair the queen was accused of having back then, because that would make the movie so unique.. or not. The story was already a snorefest on paper so let's toss in some sexual material to spice it up in spite of one's better judgement? Check.

The list goes on.

The photo direction is beautiful, the costumes and decors are gorgeous, the actors are all excellent, all this movie is missing is an actual story worthy of your attention. A real shame.

It's July, 1789, and French citizenry is starting to revolt. Queen Marie Antoninette (Diane Kruger) is hold up at Château de Versailles with her court and her book reader (Léa Seydoux). When the news of the storming of the Bastille reaches them, panic sets in and the King's entourage start slipping away.

It's fascinating to see the various reaction as rumors start to spread. Léa Seydoux is great as the doe-eyed true believer. It is disconcerting to know her true naivety even though she has no idea. It's the source of the tension, but it's also infuriating. Diane Kruger is fine, but I thought that it wasn't quite big enough. However, the climax was just right.

Before going in to see Farewell, My Queen, I really did not know too much about it and now I am glad that I knew little to nothing about the film before I saw it. I knew it was about Marie Antoinette, but that was about it. I haven't seen too many films about Marie Antoinette, other than Sofia Coppola's 2006 film which I liked quite a bit. Both films offer a different look and perspective on her, one of the things I really liked about this film as well. Lea Seydoux does a terrific job playing Sidonie Laborde, who is Marie Antoinette's reader. Seydoux allows her character to have a very curious side to her and at times she is really determined to stand up for what she believes in and can be forceful all at the same time as having an innocence to her as most young women do. It's a great performance and one that I hope leads to a successful career for her. Diane Kruger, who plays Marie Antoinette does a good job as well, but at times I did find her performance a tad melodramatic and so sometimes it felt a bit forced, or over the top. However, both Seydoux and Kruger both do show infatuation and they show it well. I can not go into any more detail than that, or I would ruin the film, but Kruger is especially good at showing Marie Antoinette's more softer and human side. A side that recognizes her fear, her flaws and truths about her own personality. Seydoux's character Sidonie is so loyal to the queen that she almost loves her, but as the film goes on, we are not really sure why. The queen can be very vicious and uncaring to Sidonie, but yet this young woman cares deeply about the queen and what is in the queen's best interest is most important for Sidonie putting the queen's needs even ahead of her own. As, I got thinking about the film, I think this part of it really had an impact on me and touched me and made me think in several ways. Here is a young woman who is more, or less an orphan and goes about her life serving and thinking of ways to keep the queen happy even though she herself lives in squalor and does not have the material wealth, possessions, or honour that the queen has. The queen seems to have everything and yet seems only to think about herself, whereas Sidonie was born with nothing and lives with nothing, but feels in her heart and soul that it is her job to serve the queen and she will do so no matter what, even if there could be consequences to her decisions. My only other complaint about the film was that at times it did feel a bit rushed and maybe moved from one event to another quite quickly, but that did not stop my enjoyment of the film, I think it just asks us as viewers to be a little more patient and do some of the character analysis, or study on our own, or even after the film is over. Even though the film does move by fast we are especially treated to a very good character study of Sidonie, who I think is the most interesting character in the film and probably the one we can relate to and even care about the most. She seems the most human whereas everyone else really does seem to be looking out for themselves and not really caring about what happens to the person next to them. The film does a credible job of showing the majestic costumes and lavish clothes and settings where Marie Antoinette lives, but at the same time it shows the dark and dingy place where Sidonie eats and sleeps and basically calls home. There is an element here showing a class struggle between these two characters and the more you think of it, the more evident it becomes. Farewell, My Queen is a good looking film with a terrific performance by Lea Seydoux, good character study and a film that gives us much to think about and even more to appreciate after the film is over and we have thought it over for awhile. As, I have said before, this is the quality of a great film.

I must admit, when I went to see this film I thought: Not another picture about the revolution in France, I must have seen 20 already. I was pleased to find however that Benoit Jacquot has given the period a lot of thought, and has made one of the more effective costume films in recent years. His Sade of 2000 starred Daniel Auteuil and Isild le Besco, treating one of the lesser figures of the period with great insight into his character. Les adieux a la reine is no less engrossing; he takes us into the cramped corridors of the palace, where the small people live in dingy quarters and hope (usually fruitlessly) to be noticed by the royal couple. The night scene with the courtiers fearfully scanning the list of 286 notables who must have their heads chopped off, lit with a brackish yellow candle light is wonderfully effective.

The performances make the film. Diane Kruger, with her slight accent, makes a wonderful Marie Antoinette: sensing doom, yet still able to reach out to those around her. It's easy to see why Sidonie reveres her. Lea Seydoux, whom I hadn't noticed much up to now, shows much promise as an actress, scurrying around the palace trying to gather information about the riots in Paris. Her face is sometimes sullen, sometimes smiling, always interesting. Xavier Beauvois does well as the King. Finally Virginie Ledoyen as Yolande de Polignac--"the indisputably ravishing but dim-witted Yolande" as Simon Schama calls her. Ledoyen is as imperious and shallow as you could wish. You see how the Queen could lose her head (in both senses) over her.

For the next few years, it must be assumed that any film featuring a popular uprising will attract lazy comparisons to the Arab Spring. The wild waters of revolution run swift in Benoit Jacquot's "Farewell, My Queen", set in the days of July, 1789. Over a wet week in France, starving Parisians storm the symbol of state tyranny, the Bastille, seizing guns and ammunition. Protesters issue a list of demands, calling for the beheadings of nearly 300 influential figures. The de facto signs of regime change are everywhere. Dead rats float in the Grand Canal in Versaille; mosquitoes terrorize the members of the Royal household. Marie Antoinette (Diane Kruger), the Queen of France, however, has escapism on her mind – she sits in bed, skim-reading the latest fashion pages.

In this task, she is aided by a number of ladies-in-waiting and her reader, Sidonie Laborde (Lea Seydoux). The young woman is called to run to the palace library and return with books and plays she reads aloud to the queen. We learn she is a member of the queen's inner circle and somewhat infatuated with her employer. She performs her duties with a mixture of fear, envy and respect. When the stench of revolution is impossible to ignore, she is told she will be guided to safety. Understandably, she feels more than a little betrayed when the queen orders her to impersonate a fleeing aristocrat, Gabrielle de Polignac, who will accompany her, dressed as a servant. If she is captured, Laborde risks death, while Polignac will abscond to safety.

This could all be familiar territory – Sofia Coppola's "Marie Antoinette" (2006) took a distinctly sweet-toothed approach to the French Revolution, imprisoning Kirsten Dunst behind tiers of artisan cakes. In Coppola's film, the French royals behaved like party-goers on an episode of MTV's "My Super Sweet 16". "Farewell, My Queen", which is based on a novel by Chantal Thomas, isn't confection of the same variety. This dimly lit and low budget film marks the end of the fantasy world of Versailles, its gilded halls, jeweled furniture and costumed courtiers. The Royal staff bow and curtsy at every available opportunity – in their spare time, they trade gossip about the private indiscretions of their employers and idly speculate the future of post-revolutionary France.

Unfortunately, the inner workings of the court of Versailles simply aren't any match for the layered politics that define teenage life on "My Super Sweet 16". While Coppola's film was candy floss masquerading as history, "Farewell, My Queen" succeeds in laboring every aspect of daily life at the Royal court. We are told, time and time again, there lurks intrigue behind every palace wall – most of it remains frustratingly off screen. At one point, I found myself thinking Laborde's chores were no different from the experiences of any gap year student – and considerably less hedonistic.

The end, when it arrives, is all too predictable. As members of the royal household are attacked on the streets of Paris, the occupants of Versaille decide to flee. As the royals leave for the last time, their carriages bursting with furniture and jewels, the staff is told "the King will now check the temperature of the throne room". Ice-cold, I would imagine. Not unlike Jacquot's French revolution.