劇情簡介
索菲亞·科波拉執(zhí)導(dǎo)的新片《絕代艷后》(Marie-Antoinette)，根據(jù)安東尼婭·弗雷澤的書作改編，講述了一位風(fēng)華絕代的女性——法國王后瑪麗·安托瓦內(nèi)特的傳奇一生。雖然出生于奧地利皇室，貴為法國王后，錦衣玉食，但她卻是歷史上受非議、誤解和謾罵最多的女性之一。瑪麗·安托瓦內(nèi)特是奧地利皇帝弗蘭茨一世的女兒，14歲就入主法國凡爾賽宮，19歲成為了法國國王路易十六的王后。影片展現(xiàn)了法國大革命前凡爾賽宮內(nèi)種種的頹廢、奢靡與陰謀。揮霍無度、放蕩不羈的瑪麗王后，導(dǎo)致法國在18世紀(jì)七八十年代債臺高筑，從而最終導(dǎo)致法國大革命的爆發(fā)和君主制的推翻，而瑪麗王后本人也于1793年10月被送上了斷頭臺。
凡爾賽宮水晶燈閃耀，衣香鬢影，上流社會的貴族們常在這里舉行宴會。但是在今天則有所不同。它將決定瑪麗·安托瓦內(nèi)特的一生，今夜是法國太子迎娶瑪麗·安托瓦內(nèi)特為妻的大婚日子。 瑪麗·安托瓦內(nèi)特為奧地利公主。出生于1755年11月2日，擁有一頭金色波浪卷秀發(fā)，嫣紅的雙唇，吹彈可破的雪肌，迷人的雙眼，被譽為奧地利最美的公主。年僅14歲的她，美麗迷人的她，成了奧地利與法國險惡政治之間的犧牲品。1770年，嫁給了年僅16歲的法國波龐王室的太子，也就是將來的路易十六，成為了路易十六的太子妃。 14歲的她哪里能想到自己的未來將在這動蕩不安的亂世和自己的感情之間浮浮沉沉。14歲就當(dāng)了太子妃，19歲成了法國皇后，有著太重太重的責(zé)任和壓力在瑪麗的肩膀上面，這些責(zé)任都等著她去面對，要與比她年長的貴族夫人們應(yīng)對，懂得在這奢華浮靡的凡爾賽宮生存，要適應(yīng)奧地利與法國政治間的勾心斗角，的確對直率熱情的她的確是一個重大的考驗。
路易十六是個木訥的男人，溫文儒雅但是卻不善語言，整天只關(guān)在鐵匠房，冶鐵是他的最大興趣，溫吞的他無法博得瑪麗的歡心。瑪麗未嘗過戀愛的滋味，她知道自己不愛這男人，在瑪麗心里，他只是自己的丈夫，這是她對路易十六唯一的感覺。16歲那年，一個男人在瑪麗的生命之間掀起了大波瀾，這男人的名字叫做菲爾遜，一個瑞典的貴族。據(jù)說他們倆在扮裝舞會中相識，依照規(guī)定，太子妃不可隨便外出，但是就是在這場宴會讓她認(rèn)識了菲爾遜伯爵，菲爾遜有著幽默風(fēng)趣的特性，機智迷人的又同時兼具政治長才，還可以帶兵打仗，多才多藝又深具領(lǐng)導(dǎo)能力讓瑪麗深深著迷。對于整天面對不善于說話而且木訥的路易十六的瑪麗而言，菲爾遜的出現(xiàn)在她的生命點燃一道光。于是，她終于知道戀愛的滋味是怎樣，她喜歡菲爾遜，為他著迷，也和他之間發(fā)展出一段戀曲。
皇宮的苦悶讓瑪麗想找個宣泄的出口，除了與菲爾遜的戀曲之外，她積極尋找娛樂，所以她參加很多皇室外的宴會，喬裝偷偷摸摸讓她享樂其中；與生俱來的美貌和貴族優(yōu)越感，讓她對服裝鞋子珠寶需索無度，因為從小生長在皇宮之內(nèi)，不懂人間疾苦，國庫都讓她拿去做衣服，買珠寶，還有賭博，因此有了歷史上著名的“項鏈?zhǔn)录保▏朔Q這個奧地利籍的皇后為“赤字皇后”。雖然后來證明“項鏈?zhǔn)录钡默旣惢屎笫菬o辜的，卻讓她聲望下跌，而且這時候法國的民間正在醞釀一股反皇室的氣氛，瑪麗這時就成了眾矢之的。法國大革命的期間，一堆人說“把那個奧地利的女人趕出去”“殺死她，她是魔女”“都是她，害的我們這么窮”，皇室這時又不肯召開三級會議，民怨越來越高漲，這時路易十六與瑪麗打算逃出法國境內(nèi)去避風(fēng)頭，菲爾遜幫助逃亡，但是卻在法國邊境維洛那被逮個正著，被押回巴黎囚禁，在路易十六被處斬之后，她也被交付審判而且送上斷頭臺。她在被處刑之前，不小心踩到了劊子手的腳，還因此跟劊子手說聲抱歉。
主演簡介
克爾斯滕·鄧斯特飾演奧地利公主、法國路易十六的皇后瑪麗·安托瓦內(nèi)特。杰森·施沃茨曼飾演他冷漠的丈夫路易十六。其他演員則分別飾演凡爾塞皇室精英。而看似華貴安逸的的皇室中卻不斷發(fā)生著政治與情感的明爭暗斗。克爾斯滕·鄧斯特(Kirsten Dunst)現(xiàn)年24歲，7歲時就在伍迪·艾倫的《紐約故事》中首次展現(xiàn)了她的銀幕風(fēng)采；隨后1994年12歲的鄧斯特和好萊塢一線男星布拉德·皮特、湯姆·克魯斯聯(lián)袂出演了《夜訪吸血鬼》，并獲得了金球獎提名；2000年更是憑借在蘇菲亞·科波拉導(dǎo)演的《死亡日記》中的精彩演繹獲得評論界如潮好評。2002年，20歲的她出演了經(jīng)典漫畫改變影片《蜘蛛俠》，隨后將接拍《蒙娜麗莎的微笑》等大片。從三歲開始在影視圈拋頭露面，到13歲(1995年)就成為《人物》全球最美麗的五十人之一，走過一路青春逼人的童星歲月，克爾斯滕·鄧斯特開始了成熟的青春女星生涯。此外值得一提的是，克爾斯滕·鄧斯特和杰森·施沃茨曼曾參演本片導(dǎo)演索非亞·科波拉的處女作影片《處女自殺》。
影片簡評
戛納電影節(jié)金棕櫚獎的角逐尚未開始，候選人索非亞·科波拉的新片《絕代艷后》(又譯《瑪麗-安托瓦內(nèi)特》)無論是否能拿此大獎，卻已經(jīng)在法國引起沸沸揚揚的爭論。本片可以說是科波拉迄今為止最野心勃勃的一部影片。每一個鏡頭都是對眼睛的愛撫。華麗的服裝，美輪美奐的宮殿，都帶給我們古老而夢幻般的氣息，這是在她以前的影片中看不到的。她能夠在一個鏡頭中給我們傳達(dá)如此之多的信息。科波拉善于講述美麗的故事，現(xiàn)在看來這部影片中故事似乎沒有眼睛的觸覺重要。從觀看影片的第一刻起，我們就很清楚的看到本片是一個比經(jīng)典的簡·奧斯汀的影片更具有迷幻魅力的展示精美服裝的影片。可以說從視覺效果上來說這是科波拉最成功的作品。而本片的攝影師Lance Accord用粉紅色的基調(diào)給我們營造了一種柔美的蠟筆畫的氣氛，使影片更具有超現(xiàn)實的風(fēng)格。
如同在她先前的影片中一樣，科波拉十分注重細(xì)節(jié)。很多鏡頭似乎靜態(tài)的畫幅。但是和她先前的《迷失東京》和《處女自殺》不同，精美的服飾掩蓋了敘事的空洞。科波拉似乎是試圖勾勒一種需索無度的放縱人生，只不過是用了時代錯位這樣一個暗機關(guān)。本片是典型的科波拉風(fēng)格，一個年輕女人無法辨識成人的世界。不過有一位不愿透露姓名的法國批評家形容本片：“枯燥的空殼，不知道戛納的評委為何會選它，觀眾們將觀看到鍍金的十八世紀(jì)的貴族生活，空虛，吃喝玩樂，再空虛厭倦。雖然厭倦和填補心靈空間是電影的小技巧，科波拉在《迷失東京》(lost in translation)中處理得很好，但對于本片卻是徹底的失敗。似乎瑪麗-安托瓦內(nèi)特就是如今的帕里斯·希爾頓等豪門艷女之流”。
此外，電影原聲主要是搖滾音樂，對白雖是英文，但也分成了美式、英式和法國口音。不過有人認(rèn)為搖滾音樂是一種喚起歷史的方法，因為本片并非是要偽裝成那段歷史。要求對白都是純正的法語也很荒唐，因為如果是十八世紀(jì)的法語，即便現(xiàn)在的法國人也很難聽懂。
對于原作的引用，科波拉沒有閱讀經(jīng)典的史蒂芬·茨威格關(guān)于瑪麗-安托外內(nèi)特的人物傳記，而是選用了更具有人物觸感的安東尼婭·弗雷澤的作品。
還有拍攝的主要實景地是凡爾賽宮，為何我們能看到美輪美奐的凡爾賽宮，還得感謝慷慨的法國政府，因為是法國政府特許了本片的實景拍攝。
Movie Review
In the revisionist "Marie Antoinette," writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections. The movie slices through the cobwebs of history to seek the heart of the young Austrian princess whom 18th century political diplomacy thrust into a maelstrom of court intrigue and poisoned personal relationships without even asking if she minded.
This is not a portrait, even though it is based on Antonia Fraser's biography "Marie Antoinette: The Journey," that will play well in France. Here she is a favorite villainess. Nor will the film be an easy sell in other territories, where Coppola's contemporary sensibilities and dialogue may feel anachronistic. The film certainly is far afield from her popular "Lost in Translation" even though both films concern characters that suffer anxiety and ennui from cultural dislocation.
The film opens here this week, where it can expect mixed to hostile reactions from critics, but may possibly intrigue moviegoers keen to see a different version of well-known events. When it opens domestically Oct. 13, Sony will have to shrewdly market the film to pull in a young crowd for whom Marie Antoinette is a figure in a wax museum.
One more comparison to "Lost in Translation": Marie Antoinette's protracted arrival in her new home in France and especially the Palace of Versailles indelibly expresses the young woman's discomfort and loss of bearings just as Bill Murray's arrival in Tokyo. Each is a stranger in a strange land of unfamiliar and even upsetting customs.
The problem Coppola confronts is that Marie Antoinette is a protagonist to whom things happen. She has little if any control over her destiny other than to indulge, famously, in a decadent lifestyle and cavort with her ladies in waiting in Le Petit Trianon. News, tragic or otherwise, arrives by messenger, and those around her are either wily or unwise.
Coppola's solution to this dramatic handicap is to conspire with her star to achieve an empathetic portrait of a life spent in a gilded, vast prison. Most of the movie is shot in and around Versailles. Sometimes scenes occur on the very spot of the actual events. It's hard to imagine this picture even happening without the cooperation of the French government; mere sets were never going to get the job done.
What the history books tell us about Marie Antoinette's lavish lifestyle, with her rising each morning to a retinue of women who dress her, the movie correctly sees as an indignity: Who wants to get dressed in front of virtual strangers?
The marriage at 14 to her husband, Louis (Jason Schwartzman), the Dauphin and heir to the throne, creates the central relationship of the movie. The young man's unwillingness or inability to consummate the marriage for an astonishing and awkward seven years inspired gossip and derision, mostly directed at the undeserving Dauphine. An undercurrent of malicious chitchat becomes a kind of white noise in many palace scenes.
Dunst radiates innocence even as she is losing that innocence. She transfers her love to pets and, when children finally do arrive, to the babies. She refuses to relinquish her willfulness or determination even though these traits do not stand her in good stead at Versailles.
Schwartzman gives a wry and funny performance as a man even more ill suited to his historical role than his wife. The movie never gets to the bottom of his difficulties and indifference, wisely resisting the temptation to impose a modern interpretation on this relationship. Instead, Coppola hews to her heroine's point of view. In the final reel, the couple does achieve a maturity, only to be cut short by angry mobs and revolution.
Terrific performances litter the film: Rip Torn's Louis XV, a shrewd man with hearty appetites of flesh and stomach; Asia Argento as his sultry and crude mistress, Madame Du Barry, despised by all but her lover; Steve Coogan as the courtly Austrian ambassador, who tries to steer Marie Antoinette through the tricky shoals of court politics; Danny Huston as her favorite older brother, the only male with whom she has any real rapport; and Marianne Faithful as her politically astute mother, Maria Teresa. Unfortunately, the movie never quite does justice to a Swedish count, played wanly by James Dornan, whom the Queen takes as a lover.
The costumes, dazzling shoes and jewels are pure pleasure to behold, and Lance Acord's cinematography keeps things simple no matter how lavish the settings. The bursts of rock music on the soundtrack often takes you out of the picture, but this is an indulgence one easily grants to Coppola, who otherwise achieves a harmonious blend of history and contemporary perceptions.
