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Marie Antoinette

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Blahnik: Working on this film meant I got to fulfill my boyhood dream of making shoes for Marie Antoinette—even if it was three centuries later and for a film. It’s one of the great masterpieces of the last 20 years. And I’m not just saying that because I was involved. Fraser: There’s a historian who said “We should always be aware that what now lies in the past once lay in the future.” Marie never anticipated what sorrows lay ahead, and how could she? She was sad about leaving [her pug] Mops behind [in Vienna] but she was going to be the Queen of France. She expected to have a good time, and she certainly had one. Some Rights Reserved (2009-2023) under Creative Commons Attribution-NonCommercial-ShareAlike license unless otherwise noted.

Coppola was mesmerized by this pair of 25-carat diamond earrings, featured in several keys scenes. Photo: Courtesy of Sony Coppola: It was so fun to be in Paris with Kirsten. She was 16 when we made The Virgin Suicides, so she’s always been like a little sister to me, but [on Marie Antoinette] she was old enough for me to take her out all over Paris.Desmarest: Anyone who did anything on that film was there that night. I tried to stay responsible, but it was difficult because I drank copious amounts of alcohol. Everyone was so relaxed that we ended up having a proper party with lots of drinking and dancing. It was very informal and there was no hierarchy. We all took photos of each other on the steps of Versailles. I think I finally left around six in the morning. Booth, Trudie Maria (2005). French Verbs and Idioms. University Press of America. p.127. ISBN 978-0-7618-3194-5. In the months following Louis XVI's execution, Marie Antoinette's fate was uncertain. Some argued that she should remain a hostage, or perhaps be used in a prisoner exchange, but the rise of the radical Jacobins and the reign of the infamous Committee of Public Safety sealed her fate. Following the failure of the Carnation Plot to free her from prison, the Widow Capet was tried by the Revolutionary Tribunal on 14 October, charged with a variety of crimes including high treason. Found guilty, she was condemned to death and was guillotined on 16 October 1793. Her last words, after accidentally stepping on the foot of her executioner, were "Pardon, monsieur. I did not do it on purpose" (Fraser, 440). Faithfull: I always thought Sofia’s film was a masterpiece. People are not always understood as the geniuses they are at the time—I don’t think I have been! But with time one gets proper recognition. People will only come to understand Sofia’s vision more as time goes by. I haven’t had much of an acting career so Marie Antoinette is something I’m very proud of.

a b Fraser, Antonia (2002). Marie Antoinette: The Journey. Anchor. pp. xviii, 160. ISBN 978-0385489492.Lanser, Susan S. (2003). "Eating Cake: The (Ab)uses of Marie-Antoinette". In Goodman, Dena; Kaiser, Thomas E. (eds.). Marie Antoinette: Writings on the Body of a Queen. Routledge. pp.273–290. ISBN 978-0415933957. Coppola struggled to condense the queen’s short but eventful life into a film that felt accessible. She enjoyed working her way through Marie Antoinette’s teendom—the parties, the fashion—but was less engaged by her tragic final years. Coppola often alternated between writing Marie Antoinette and the script that became her second feature, a story about a young American woman and a fading movie star in Tokyo. Upon her arrival in Versailles, Marie Antoinette lived in the Queen’s State Apartment and was bound by the official rituals of her royal position: the waking-up ceremony, the elaborate preparations, royal audiences, public meals, etc. Having grown up with the less elaborate ceremonial routine of Austria’s royal palaces, she had a hard time adapting to Versailles’ complex etiquette and tried to seek out a more private life. Surrounded by a circle of friends whom she had chosen herself (although not always wisely), she preferred to remain in her Private Chambers, located behind her State Apartments and which she hoped to extend into the floor above, and in the Petit Trianon, built by Louis XV and given to her as a gift by Louis XVI on his accession. Dunst: Our premiere got a standing ovation and we had the greatest after-party of all time. Once the film actually came out, it hit me that people didn’t really seem to like it. “Honestly, It Hurt My Feelings” At the end of filming, the wigmakers gifted Jason Schwartzman an 18th-century wig for his dog, Arrow. Photo: Courtesy of Desiree Corridoni “It Needed to Sound Organic”

Rousseau does not name the "great princess", and he may have invented the anecdote altogether, as the Confessions is not considered entirely factual. [6] Attribution to Marie Antoinette [ edit ] In a monarchy increasingly under assault, the charm and horror of her feminine body and her destructive political power as a foreign intruder turned Marie-Antoinette into an alien other — the bestial “arch-tigress of Austria.” Working as a historian and writing like a novelist, Thomas reveals how Marie-Antoinette came to symbolize the marginalization and negation of women in French society before the French Revolution.

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One of the areas of Versailles that Coppola and her team got to know most intimately was the Petit Trianon. The château was a gift from Louis XVI to his wife, who would go there to escape the stuffy formalities of the palace. No one was permitted to enter the property without permission from the queen, whose greatest joy was lounging in the gardens with her children and members of her inner circle. Duncanson: We did think a period film with pop music sounded like an odd combination, but we were very flattered. At first they were talking about using one or two of our songs, and then it became three. We were over the moon. It was a little weird hearing music we’d recorded in my bedroom in a big movie theater, though. “We Should’ve Been Arrested” Following the Storming of the Bastille on 14 July 1789, the Assembly passed the August Decrees, which dismantled the system of feudalism, and adopted the Declaration of the Rights of Man and Citizen. As the National Assembly dismembered the Ancien Régime one decree at a time, Louis XVI stubbornly fought to retain his kingly authority. Marie Antoinette, hardened against the Revolution and described by the Count of Mirabeau (1749-1791) as "the only man" on which the king could depend, stayed steadfast by his side (Schama, 533).

To commemorate its anniversary, Vogue talked to the cast, crew, and more about how Marie Antoinette came together. “I Was Less Interested in the Political Side of History’” The Duchess de Polignac replaced the Princess de Lamballe as Marie Antoinette’s favorite. Contemporaries praised her jubilant spirit and “utter naturalness.” Photo: Courtesy of Sony With the sets constructed and the keys to Versailles handed over, Marie Antoinette began filming on March 7, 2005. While the palace has hosted 225 different productions since 1896, Coppola was granted unprecedented access. Sofia Coppola, Marie Antoinette director/writer: My attitude was, “How would Marie want a movie about her life to look?” I’ve always loved that period, and she’s such a mythic figure. I grew up in the ’80s so my first exposure to that era was through bands like Adam and the Ants. I thought it’d be interesting to approach 18th-century France through that New Romantic lens. I wanted to adapt Antonia Fraser’s book because her attitude was so different from other biographies about Marie. A Franco-Austrian alliance was certainly a controversial development, as many people in each country hated the other; prior to the Seven Years' War (1756-1763), King Louis XV of France (r. 1715-1774) himself had been an enemy of Maria Theresa. Yet following that conflict, the weakened Kingdom of France had begrudgingly entered into an alliance of necessity with Austria, with both nations agreeing that such an alliance should be solidified with a marriage. It was eventually decided that Maria Antonia would be married to Louis XV's grandson, Louis-Auguste, Duke of Berry (l. 1754-1793) who had become heir and dauphin of France upon the death of his father in 1766. So, after a proxy marriage and a renunciation of all claims to Habsburg lands, Maria Antonia set off for France to meet her new husband and arrived in Versailles on 14 May 1770, aged only 14. Along with the title of dauphine, she also adopted the French version of her name: Marie Antoinette. Dauphine of FranceThe phrase appears in book six of Jean-Jacques Rousseau's autobiographical Confessions, whose first six books were written in 1765 and published in 1782. Rousseau recounts an episode in which he was seeking bread to accompany some wine he had stolen. Feeling too elegantly dressed to go into an ordinary bakery, he recalled the words of a "great princess": [5] Francois Furet & Mona Ozouf & Arthur Goldhammer. A Critical Dictionary of the French Revolution. Belknap Press: An Imprint of Harvard University Press, 1989. Marie Antoinette was born in Vienna on 2 November 1755, the daughter of Holy Roman Emperor Francis I and Habsburg Empress Maria Theresa. Her marriage with the future Louis XVI, celebrated in the Royal Chapel at Versailles on 16 May 1770, was partly the work of the Duke de Choiseul, Secretary of State for Foreign Affairs and one of the principal architects of the reconciliation between France and Austria. The marriage nonetheless met with a lukewarm reception from the French public, who had not forgotten their country’s long-standing enmity towards the House of Austria. A highlight of the lavish festivities to mark the royal wedding was the inauguration of the Royal Opera.

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