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La prise de pouvoir par Louis XIV

  • TV Movie
  • 1966
  • G
  • 1h 30m
IMDb RATING
7.1/10
1.8K
YOUR RATING
La prise de pouvoir par Louis XIV (1966)
Period DramaBiographyHistory

After the death of Cardinal Mazarin, young king Louis XIV decides to assert his power to control the aristocracy.After the death of Cardinal Mazarin, young king Louis XIV decides to assert his power to control the aristocracy.After the death of Cardinal Mazarin, young king Louis XIV decides to assert his power to control the aristocracy.

  • Director
    • Roberto Rossellini
  • Writers
    • Philippe Erlanger
    • Jean Gruault
    • Roberto Rossellini
  • Stars
    • Jean-Marie Patte
    • Raymond Jourdan
    • César Silvagni
  • See production info at IMDbPro
  • IMDb RATING
    7.1/10
    1.8K
    YOUR RATING
    • Director
      • Roberto Rossellini
    • Writers
      • Philippe Erlanger
      • Jean Gruault
      • Roberto Rossellini
    • Stars
      • Jean-Marie Patte
      • Raymond Jourdan
      • César Silvagni
    • 18User reviews
    • 25Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
    • Awards
      • 1 nomination total

    Photos7

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    Top cast51

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    Jean-Marie Patte
    • King Louis XIV
    Raymond Jourdan
    • Jean Baptiste Colbert
    César Silvagni
    • Cardinal Mazarin
    • (as Silvagni)
    Katharina Renn
    • Anne d'Autriche
    Dominique Vincent
    • Madame Du Plessis
    Pierre Barrat
    • Nicolas Fouquet
    Fernand Fabre
    Fernand Fabre
    • Michel Le Tellier
    Françoise Ponty
    • Louise de la Vallière
    Joëlle Laugeois
    • Marie-Thérèse
    Maurice Barrier
    Maurice Barrier
    • D'Artagnan
    André Dumas
    • Le Père Joly
    François Mirante
    • M. de Brienne
    Pierre Spadoni
    • Noni
    Roger Guillo
    • L'apothicaire
    Louis Raymond
    • Le premier médecin
    Maurice Bourbon
    • Le deuxième médecin
    Michel Ferre
    • M. de Gesvres
    Guy Pintat
    • Le chef-cuisinier
    • Director
      • Roberto Rossellini
    • Writers
      • Philippe Erlanger
      • Jean Gruault
      • Roberto Rossellini
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews18

    7.11.7K
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    Featured reviews

    10returning

    True realism

    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
    7Imdad_Palijo

    Joys of a King

    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.
    10alsolikelife

    A supreme highlight of movie realism and historical films, & one of Rossellini's very best

    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).
    dbdumonteil

    History and only history.

    "The rise of Louis the Fourteenth" is an austere work ,close to documentary.If you're looking for an Hollywoodian entertaining flick ,pass by.The scene which depicts King Louis's first "conseil" directly comes from count Lomenie de Brienne's memoirs :the words Louis utters are exactly the same.

    This is the kind of film that should be shown in every school of the planet .It is a lesson many directors should pay attention to.All that matters is included:Louis 's sinister souvenirs of "La Fronde" which would lead him to surround himself with ministers from the bourgeoisie and to live far from Paris.The main subject of the movie is the taming of the nobles :Fouquet was the last of those arrogant lords,so his downfall was bound to happen (with a "little" help from Colbert,a merchant).It's a long way from Mazarin's death to the scenes in Versailles Palace where the nobles have become servants .They used to fight to keep their military and political power,now they would fight to be the one to hold out his shirt to their king when He gets up.They would become courtiers.

    Rosselini had nothing to prove when he made this made-for-TV work:an Italian,he displayed a perfect command of such an important time in the history of my country.
    9eusebius15

    Highness and loudness of the power

    Rossellini give us a magnificent lesson of history, and how his movie's title is well choose! Remarkable is the style, and the psychology of the young Louis, as a man full of his own genius, is excellent; we understand him, we understand each action which will conduct him to the summit of the real absolutism. Never before, a french director didn't explored the french meaning of the highness and nobility, the french mentality of this ancient time where the peoples of France sincerely believed that the king was divine. There were an Italian, an Italian who was flirting a while with the communism who enjoyed us with this splendid last sequence, and this last true picture of a true king highly thinking of his charge and his destiny. Maybe the Frenchmen are too busy with the ruins of their glorious past to effectively and really understand this past.

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    • Trivia
      Jean-Marie Patte, an office clerk moonlighting as an amateur actor, had terrible difficulty memorizing his lines, and had to read from cue cards in most of his scenes. Roberto Rossellini believed that Patte's awkward, unrehearsed nervousness mirrored that of Louis as he takes on the responsibilities of kingship.
    • Connections
      Featured in Petit manuel d'histoire de France (1979)

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    Details

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    • Release date
      • October 8, 1966 (France)
    • Country of origin
      • France
    • Languages
      • French
      • Latin
    • Also known as
      • The Taking of Power by Louis XIV
    • Filming locations
      • Chateau de Versailles, Versailles, Yvelines, France
    • Production company
      • Office de Radiodiffusion Télévision Française (ORTF)
    • See more company credits at IMDbPro

    Box office

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    • Gross worldwide
      • $266
    See detailed box office info on IMDbPro

    Tech specs

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    • Runtime
      1 hour 30 minutes
    • Sound mix
      • Mono
    • Aspect ratio
      • 4:3

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