Marie Antoinette...(17/7)

Sophie Coppola is advancing in her film making career. The fame of her father has always been a big advantage / challenge to her career. Her previous works including the Virgin Suicide and Lost in Translation, though internationally acclaimed, did not really amuse me a lot. However, her latest work, Marie Antoinette, does change my view on her film and her stylish capturing of views and thoughts...choosing Marie Antoinette as a subject of the film is challenging, and it is hard to manage. With the former cinematic version of Marie Antoinette in 1938 being a glamorous success, Sophie Coppola is talented in choosing those elements she most specialises in, and so the film, though lasting for 2 hours, was very smooth in flow. The film was beautifully shot, and the use of contrast and colours was fantastic. Scratches of Sophie Coppola's previous works could be found in the film, and so there were moments of Antoinette's silhouette under the sun, close up of flowers and moving grasses, still images of the facade of the chateau under sunset etc - the catch of the Virgin Suicide. Costume design and hair styling were gorgeous in the film, and the lure of royal life in the late 18th century was captured. Unlike other films of similar topics, Sophie Coppola is strong in filming in the focus of pattern, colours and reflection of the scenery where her story took place. Thus, impressive images like the interior design and decoration of the Chateau Versailles, the hunting moment of Louis XVI in the forest, the dinner session of Louis XVI and Antoinette and the never-ending gambling gatherings were pleasantly brought into the film. Sophie Coppola emphasises her trademark of daily routine and sensational movement in this film too, and frankly the characters in the film were imaged in dimensions. Kirsten Dunst played Marie Antoinette and she was nicely casted. I like the rhythm of the film as Sophie Coppola chose to film only the moments she picked up as the skeleton and elements to sculpture her Marie Antoinette. The pace was mastered. There were quite numerous shots on the solitude Antoinette such as the moment when the Queen stood at the balcony of the chateau in melancholy, another moment when she stood in front of the entrance of the room, or when she stared at the moving object outside the cart. The choice of still moments strengthened the effect of the film and the emotional change of the character. The film is a feminine manifesto or at least a speech for the women. Sophie Coppola's film is also good at music. She intentionally selected waving music to uplift the mood of the film and produced a unique film of royal and life of Marie Antoinette. She is smart in doing so.
When I appreciate how the film was neatly presented, I may perhaps be trapped in the same false image like the Western world looks at the life in Tokyo in Lost in Translation, but I feel satisfied anyway.
Besides the film, the character of Marie Antoinette is legendary in history. It seems that she is one of those historic figures who have very diverging comments from the historians. Apart from any bias or unproven criticism, she should be a very classic example as a woman of her era who cared about her family and her children.