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Marie Antoinette

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Katz: There was a very good chance we were gonna get turned down. But one of the reasons the palace said they approved us was because Sofia’s film didn’t sound like another dusty costume drama. They said “Versailles is not a museum, it’s alive.” They didn’t want a movie that felt like a museum piece and Sofia presented a really vibrant take on a person we’ve only really seen in paintings before. Jean-Jacques Rousseau (left) who coined the phrase " qu'ils mangent de la brioche" in 1765. In the years following the French Revolution, the quotation became attributed to Marie Antoinette (right), although there is no evidence that she said it. 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 France

But by the time she took the throne, everything had changed. In Queen of Fashion, Caroline Weber tells of the radical restyling that transformed the young queen into an icon and shaped the future of the nation. With her riding gear, her white furs,… 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 ] 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. Filming the “masked ball” sequence at the Palais Garnier opera house, a Parisian landmark. Photo: Leigh JohnsonCoppola: My friend told me that a lot of moms and pre-teen daughters watch it together as a sort of tradition. There was a screening a few years ago where I got to watch it on a big screen with my daughter, and it was so gratifying to see it through her eyes and how into it she was. When her carriage first crossed over from her native Austria into France, fourteen-year-old Marie Antoinette was taken out, stripped naked before an entourage, and dressed in French attire to please the court of her new king. For a short while, the young girl played the part. Hollande: The film is still being debated within the walls of Versailles. We receive many requests for visits from people who want to know more about the film and see where it was shot. I was still learning my trade on Marie Antoinette, so I will always have a special love for this movie. There is no one at Versailles who doesn’t talk about it with stars in their eyes.

Caroline Moorehead's richly novelistic biography sets Lucy and her dairies in their wider context, illuminating a remarkable period of history. Coppola: I thought it’d be weird if everyone spoke with some Ye Olde Mid-Atlantic tone. I thought as long as nobody was speaking French, everyone might as well just speak with their preferred accent. It’s kind of a mish-mosh, and was maybe a weird decision at the time, but that was my thinking. Whilst I was born in America, growing up in an old Irish family with a long history and a powerful sense of its past, I learnt a great deal of Irish, British, and European (especially French) history from an early age – proving valuable in both of my careers – one, as an international business lawyer, the other as a full-time writer of historical fiction. As a result of a “very Irish” numinous connection with the Gaelic poet, Eileen O’Connell, I frequently find myself drawn to books about strong, courageous, and memorable women – particularly those who lived in interesting times, such as the tumultuous days of Sixteenth and Eighteenth-Century Europe.Kenneth Turan, The Los Angeles Times (in 2006 ): Hard as it is to believe in the US, a country whose citizens have a hard time getting upset about what happened last week, much less centuries ago, the French take their history very seriously. And the film’s undeniably sympathetic look at Marie Antoinette goes contrary to a fierce cultural bias against the queen that made her the most hated woman in France.

Shannon: We would shoot in the castle during the day and then we would run around once it got dark because there were no guards. We had full access, so after we finished shooting we would just start playing hide-and-seek around the palace. It was mind-blowingly fantastic. Dornan: It takes a lot of shots for me to start dancing, and I remember dancing quite a lot, if that tells you anything.Six thousand people of all ranks watched Marie Antoinette arrive at Versailles in 1770. One remarked that the young Dauphine had an air “at once of grandeur, modesty and sweetness”. Photo: Leigh Johnson Nighy: I was finishing my second year of literature studies at the time, so during shooting I was also preparing for a six-hour Chaucer exam. I got to stay in a very nice hotel and wear these gorgeous costumes everyday and then go home to read Chaucer every night. What a loser, right? Argento: Madame du Barry was a kind of mythological figure. She was a courtesan who became the king’s lover, and even though he made her a Comtesse, she was not aristocratic. I could relate to du Barry feeling like she never belonged. She endured a rough life to get where she did and become the king’s favourite. The spoiled brats at Versailles despised her because she wasn’t like them, so she created this glamorous façade to protect herself. “We Wanted the Film to Feel Fashionable”

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