Le Roi Danse - DVD

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Un trio se forme alors, l'un danse, l'autre compose et le dernier joue. Ils sont les pièces maîtresses des divertissements de cour : Le Roi rayonne, sublimé par les notes magiques et vibrantes de Lully, puis Molière triomphe de l'hypocrisie et de la monotonie par ses pièces de théâtre et son jeu d'acteur acerbe. Lully and another Versailles favourite, Molière ( Tchéky Karyo), are keen to further disarm the old court. The duo get to understand their own limitations when conflict becomes more manifest at events such as the staging (and consequent ban) of Tartuffe in 1664. Meanwhile, the passing years bring an end to Lully's position as the king's dance teacher and choreographer and he also has to face the emotional tensions growing with his wife's niece Julie ( Claire Keim), which will culminate at the gala of Cambert's Pomone in 1671. Lully ( Boris Terral) starts to gain the favour of the 14-year-old King Louis in 1653 by giving him specially designed shoes for Ballet Royal de la Nuit. His subsequent rise draws hostility from the old cadres of the court, particularly the royal composer Cambert ( Johan Leysen). Scénario : Ève de Castro, Gérard Corbiau, Andrée Corbiau, Didier Decoin, d'après l'œuvre de Philippe Beaussant Le film retrace la rencontre entre le roi de France Louis XIV, le talentueux Lully et l'ingénieux Molière.

Unlike what some of the commentators here have said, though, I think that the film does have a deep aspect. The idea that Louis XIV cared so much about the art of dance and music and Lully's concept of music being something to make the king immortal -- points to the transcending nature of these arts. Although dance and music was used as much as a political tool for power as a form of entertainment at the court, I personally feel that the passion for dance and music - as a pure form of truth and beauty - is powerfully expressed through the dramatic performances of the actors and actresses in this film.

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Find sources: "The King Is Dancing" – news · newspapers · books · scholar · JSTOR ( June 2019) ( Learn how and when to remove this template message) The King is Dancing ( Le Roi danse) is a 2000 costume drama by Belgian filmmaker Gérard Corbiau based on Philippe Beaussant's biography of Jean-Baptiste Lully, Lully ou le musicien du soleil (1992). The film, presenting libertine and pagan Lully as a natural ally of the early Enlightenment figure Louis XIV of France in his conflicts with the Catholic establishment, focuses on Lully's personal relationship with the King, as well as his camaraderie with Molière and rivalry with Robert Cambert. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Corbiau is well served by his cast, with Benoît Magimel (" The Piano Teacher"), in particular, making a charismatic if aloof

I had the fortune of meeting the choreographer of the film, Béatrice Massin, who attended the screening. She is THE authority of Baroque dance in France, after having worked with Francine Lancelot, who was the pioneer in the restoration of Baroque dance into its original form. Massin works with original dance notation materials from Louis XIV's time, especially the Feuillet notations, which provided very detailed and exact instructions on the dance steps used at Louis XIV's court. This dance form is very important because it is the origin of today's ballet, which has gone through a lot of transformations, especially from that of a male-only art form to one where the female dancer dominates the stage. One thing that the film has left out - what Massin feels as a mistake - is the character of Pierre Beauchamps. Beauchamps was the key dance master at Louis XIV's court and was responsible for dance education and choreographer, although he was also a musician - not as accomplished as Lully at that, while Lully's dancing skills would pale alongside Beauchamps'. In fact, Lully, Beauchamps and Molière were working very closely together. For me, it is a big, big regret that this movie, whose theme is Louis XIV's passion and talent for dance, has treated Beauchamps in such a dismissive manner (the only scene where he appeared was when the king asked him to leave the room and rearrange the choreography, to give it "more air!"). During production, Massin worked with the lead roles in the movie every day for three months, and she has high regard for Benoît Magimel. Though not a professional dancer, he attempted all the dance sequences with courage, never uttering the words "I can't." Of course, the repertoire of Baroque dance was wide-ranging and Massin could not possibly have included all the varieties of that era. She mainly worked in such a way to show what the director wanted. In the context of this movie, the director had wanted to show the masculine power that the king wanted to demonstrate, as a way to consolidate his power on the throne. So what we see in the movie comes across as very forceful, masculine movements. Lully (Terral). Together with the poet and playwright Molière (Karyo), they create elaborately choreographed ballets in which the agile young king takes the leading role. Sublime exercises inAnother thing that I miss seeing is the establishment of l'Académie Royale de la Dance. Surely, the film shows that the king announced it in a royal decree as soon as he took over all the power upon Mazarin's death. But it would have been nice to see a snippet of the academy's activities, such as how the first group of professional ballet dancers were trained. Following Cardinal Mazarin's death, Louis ( Benoît Magimel) installs himself in full power as the king in 1661. He is now at stake with the religious establishment created and controlled by his mother Anne of Austria (Colette Emmanuelle) at the Palais-Royal. On the other hand, Lully's animosity with Cambert comes to a novel dimension after Cambert's mistress Madeleine Lambert (Cécile Bois), the daughter of Michel Lambert, marries Lully in 1662.