剧情简介
索菲亚·科波拉执导的新片《绝代艳后》(Marie-Antoinette)，根据安东尼娅·弗雷泽的书作改编，讲述了一位风华绝代的女性——法国王后玛丽·安托瓦内特的传奇一生。虽然出生于奥地利皇室，贵为法国王后，锦衣玉食，但她却是历史上受非议、误解和谩骂最多的女性之一。玛丽·安托瓦内特是奥地利皇帝弗兰茨一世的女儿，14岁就入主法国凡尔赛宫，19岁成为了法国国王路易十六的王后。影片展现了法国大革命前凡尔赛宫内种种的颓废、奢靡与阴谋。挥霍无度、放荡不羁的玛丽王后，导致法国在18世纪七八十年代债台高筑，从而最终导致法国大革命的爆发和君主制的推翻，而玛丽王后本人也于1793年10月被送上了断头台。
凡尔赛宫水晶灯闪耀，衣香鬓影，上流社会的贵族们常在这里举行宴会。但是在今天则有所不同。它将决定玛丽·安托瓦内特的一生，今夜是法国太子迎娶玛丽·安托瓦内特为妻的大婚日子。 玛丽·安托瓦内特为奥地利公主。出生于1755年11月2日，拥有一头金色波浪卷秀发，嫣红的双唇，吹弹可破的雪肌，迷人的双眼，被誉为奥地利最美的公主。年仅14岁的她，美丽迷人的她，成了奥地利与法国险恶政治之间的牺牲品。1770年，嫁给了年仅16岁的法国波庞王室的太子，也就是将来的路易十六，成为了路易十六的太子妃。 14岁的她哪里能想到自己的未来将在这动荡不安的乱世和自己的感情之间浮浮沉沉。14岁就当了太子妃，19岁成了法国皇后，有着太重太重的责任和压力在玛丽的肩膀上面，这些责任都等着她去面对，要与比她年长的贵族夫人们应对，懂得在这奢华浮靡的凡尔赛宫生存，要适应奥地利与法国政治间的勾心斗角，的确对直率热情的她的确是一个重大的考验。
路易十六是个木讷的男人，温文儒雅但是却不善语言，整天只关在铁匠房，冶铁是他的最大兴趣，温吞的他无法博得玛丽的欢心。玛丽未尝过恋爱的滋味，她知道自己不爱这男人，在玛丽心里，他只是自己的丈夫，这是她对路易十六唯一的感觉。16岁那年，一个男人在玛丽的生命之间掀起了大波澜，这男人的名字叫做菲尔逊，一个瑞典的贵族。据说他们俩在扮装舞会中相识，依照规定，太子妃不可随便外出，但是就是在这场宴会让她认识了菲尔逊伯爵，菲尔逊有着幽默风趣的特性，机智迷人的又同时兼具政治长才，还可以带兵打仗，多才多艺又深具领导能力让玛丽深深着迷。对于整天面对不善于说话而且木讷的路易十六的玛丽而言，菲尔逊的出现在她的生命点燃一道光。于是，她终于知道恋爱的滋味是怎样，她喜欢菲尔逊，为他着迷，也和他之间发展出一段恋曲。
皇宫的苦闷让玛丽想找个宣泄的出口，除了与菲尔逊的恋曲之外，她积极寻找娱乐，所以她参加很多皇室外的宴会，乔装偷偷摸摸让她享乐其中；与生俱来的美貌和贵族优越感，让她对服装鞋子珠宝需索无度，因为从小生长在皇宫之内，不懂人间疾苦，国库都让她拿去做衣服，买珠宝，还有赌博，因此有了历史上著名的“项链事件”，法国人称这个奥地利籍的皇后为“赤字皇后”。虽然后来证明“项链事件”的玛丽皇后是无辜的，却让她声望下跌，而且这时候法国的民间正在酝酿一股反皇室的气氛，玛丽这时就成了众矢之的。法国大革命的期间，一堆人说“把那个奥地利的女人赶出去”“杀死她，她是魔女”“都是她，害的我们这么穷”，皇室这时又不肯召开三级会议，民怨越来越高涨，这时路易十六与玛丽打算逃出法国境内去避风头，菲尔逊帮助逃亡，但是却在法国边境维洛那被逮个正着，被押回巴黎囚禁，在路易十六被处斩之后，她也被交付审判而且送上断头台。她在被处刑之前，不小心踩到了刽子手的脚，还因此跟刽子手说声抱歉。
主演简介
克尔斯滕·邓斯特饰演奥地利公主、法国路易十六的皇后玛丽·安托瓦内特。杰森·施沃茨曼饰演他冷漠的丈夫路易十六。其他演员则分别饰演凡尔塞皇室精英。而看似华贵安逸的的皇室中却不断发生着政治与情感的明争暗斗。克尔斯滕·邓斯特(Kirsten Dunst)现年24岁，7岁时就在伍迪·艾伦的《纽约故事》中首次展现了她的银幕风采；随后1994年12岁的邓斯特和好莱坞一线男星布拉德·皮特、汤姆·克鲁斯联袂出演了《夜访吸血鬼》，并获得了金球奖提名；2000年更是凭借在苏菲亚·科波拉导演的《死亡日记》中的精彩演绎获得评论界如潮好评。2002年，20岁的她出演了经典漫画改变影片《蜘蛛侠》，随后将接拍《蒙娜丽莎的微笑》等大片。从三岁开始在影视圈抛头露面，到13岁(1995年)就成为《人物》全球最美丽的五十人之一，走过一路青春逼人的童星岁月，克尔斯滕·邓斯特开始了成熟的青春女星生涯。此外值得一提的是，克尔斯滕·邓斯特和杰森·施沃茨曼曾参演本片导演索非亚·科波拉的处女作影片《处女自杀》。
影片简评
戛纳电影节金棕榈奖的角逐尚未开始，候选人索非亚·科波拉的新片《绝代艳后》(又译《玛丽-安托瓦内特》)无论是否能拿此大奖，却已经在法国引起沸沸扬扬的争论。本片可以说是科波拉迄今为止最野心勃勃的一部影片。每一个镜头都是对眼睛的爱抚。华丽的服装，美轮美奂的宫殿，都带给我们古老而梦幻般的气息，这是在她以前的影片中看不到的。她能够在一个镜头中给我们传达如此之多的信息。科波拉善于讲述美丽的故事，现在看来这部影片中故事似乎没有眼睛的触觉重要。从观看影片的第一刻起，我们就很清楚的看到本片是一个比经典的简·奥斯汀的影片更具有迷幻魅力的展示精美服装的影片。可以说从视觉效果上来说这是科波拉最成功的作品。而本片的摄影师Lance Accord用粉红色的基调给我们营造了一种柔美的蜡笔画的气氛，使影片更具有超现实的风格。
如同在她先前的影片中一样，科波拉十分注重细节。很多镜头似乎静态的画幅。但是和她先前的《迷失东京》和《处女自杀》不同，精美的服饰掩盖了叙事的空洞。科波拉似乎是试图勾勒一种需索无度的放纵人生，只不过是用了时代错位这样一个暗机关。本片是典型的科波拉风格，一个年轻女人无法辨识成人的世界。不过有一位不愿透露姓名的法国批评家形容本片：“枯燥的空壳，不知道戛纳的评委为何会选它，观众们将观看到镀金的十八世纪的贵族生活，空虚，吃喝玩乐，再空虚厌倦。虽然厌倦和填补心灵空间是电影的小技巧，科波拉在《迷失东京》(lost in translation)中处理得很好，但对于本片却是彻底的失败。似乎玛丽-安托瓦内特就是如今的帕里斯·希尔顿等豪门艳女之流”。
此外，电影原声主要是摇滚音乐，对白虽是英文，但也分成了美式、英式和法国口音。不过有人认为摇滚音乐是一种唤起历史的方法，因为本片并非是要伪装成那段历史。要求对白都是纯正的法语也很荒唐，因为如果是十八世纪的法语，即便现在的法国人也很难听懂。
对于原作的引用，科波拉没有阅读经典的史蒂芬·茨威格关于玛丽-安托外内特的人物传记，而是选用了更具有人物触感的安东尼娅·弗雷泽的作品。
还有拍摄的主要实景地是凡尔赛宫，为何我们能看到美轮美奂的凡尔赛宫，还得感谢慷慨的法国政府，因为是法国政府特许了本片的实景拍摄。
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.
