Jeanne du Barry, Johnny Depp’s return to Italian cinemas with The King’s Favorite, but Maiwenn, another Versailles movie, is missing something… – MOW

In Italy, the film Maivenn “Jeanne du Barry – The King’s Favorite” was released, dedicated to the return of Johnny Depp as the main character. The story concerns the scandalous relationship between the French king Louis XV and the lady Jeanne Dubarry. Depp, who received public support at Cannes after the end of a lawsuit with ex-wife Amber Heard, is playing the role of the king in another performance of the French court: “Maiwenn” is just one of many costumed films about Versailles. or is there something else? However, something is clearly missing…

dafter 7 minutes of applause received in Cannes, Johnny Depp arrives in Italian cinemas with Jeanne Dubarry – The King’s Favorite directors Maiwenn. Charges dropped Amber HeardJohnny is finally back on the big screen. He does this in a story in which he takes on the role of Louis XV, the sovereign who decided to place a prostitute in the most important court of the time. This, of course, is Jeanne Dubarry, played by the director. The king is tired and no longer able to manage the chaotic Versailles with the necessary energy. However, the sight of her lover momentarily renews her soul, allowing a glimmer of light in the darkness of court life. The new countess is not just a toy in the hands of a gentleman, on the contrary: the favorite played a decisive role in the life of Versailles, which was faced with a revolution. In fact, many decisions and actions of the king at court were previously agreed with the lady.whispered in your ear before the rest of the nobles noticed. This time, our Johnny had to give up some of the freedoms that were guaranteed to him on the set of “his” Hollywood. Maiwenn told the magazine Premiere that working with Johnny was difficult: “In Hollywood, directors are led by great actors.” It seems that she even dared to knock on the door of her dressing room – an unbreakable taboo, which the forty-seven-year-old director did not hesitate to break, because “it is customary in France.” Dear Johnny, what country are you going to… Anyway, the film fails to capture the revolutionary, or at least modern, character of Jeanne du Barry.. At first we hear of her as an avid reader, but except for a few manual books, she is not particularly witty. He laughs and mocks the other residents of Versailles, who are not sufficiently developed in character to resist the Maiwenn-Depp duo. The King’s Daughters, for example, is a parody of Cinderella’s stepsisters: yes, grotesque, but without character. Ugly and impersonal dolls. The only thing that seems to be different is “The Last”, the favorite daughter of King Louis, who decides to take her vows and leave Versailles. Were it not for the voice-over warning us about the king’s preference for the youngest daughter, we would hardly have noticed anything.

YouOne of the film’s main problems lies precisely in this: potentially more interesting passages are assigned to an omniscient narrator and do not develop in the narrative.. Assigning the title of countess or the quick death of the sovereign, followed by the departure to the monastery of Dubarry – these are simple jumps in time, obscuring all these fundamental interweavings. Even the ending (spoiler) does not reflect the importance of the moment: the African page, “gifted” by Luigi to his beloved, is defined as the one who revealed the role of his mistress, leading her to beheaded. Dubarry was the last of the old regime to lose her head. But no, we don’t even see this betrayal. Internal conflicts in court and disputes over the abuses of the favorite are reduced to sighs of indignation from the diners. It all came down to one thing: “How dare you!”. For a woman who dared to renounce her last confession to the King of France before her death, perhaps this is not much. Please note: Madame Dubarry does not like Marie Antoinette, the Austrian wife of the unfortunate Louis XIV. However, the young queen is nothing more than a speck here. The filmography of recent years has often shaken hands with the headless queen, the symbol of the end of an era.Ancient Mode, and not about the mistress of Louis XV. Marie Antoinette From Sofia Coppolastarring Kirsten Dunst, depicted a modern yet childish queen: able to withstand the turmoil of a declining court (as well as her husband’s sexual difficulties) and determined in her desire to live well, enjoying sweets, fashion and gardening. Everything is seasoned with extramarital sex with the Swedish general von Fersen (Jamie Dornan). He never hid his detachment and never hid the superiority of his image over the image of the “court damsel” Dubarry (who in this case was played by Asia Argento), as defined by the queen’s friends, always ready to condemn her clothes, shoes and too many kisses with the king during banquets. As in soap from Channel 5gossip about Versailles was part of the image of the court, corrupted to the depths of the soul by its own vices, excesses and the desire for appearance, which reached the heights of horror. Best of the Worst: The Worst. Bad taste and bad habits are those who like to watch their king eat while standing around the table. The merit of Coppola’s film is that depiction of Marie Antoinette’s alienation, often accompanied by contemporary sounds that heighten the character’s dissonance. Indeed, the final scene is reminiscent of the album cover of a rock band: a fallen chandelier and a completely devastated room in the style of Louis XIV.

dinstead, the iversa is the image of the sovereign in Farewell a la Reinewith Marie Antoinette performed Diane Kruger AND Lea Seydoux as his personal reader: in the film Benoit Jacot the young queen is unfriendly and sees the world around her crumbling. She obsessively gathers supplies for her escape and spends her time selecting fabrics for her next dress, which could only be her funeral dress. A microcosm of Versailles moves around her: the inhabitants of the court writhing like mice in the corridors of a huge residence. In the dark, by the light of candles, the frightened eyes of various characters shine. Princes, noblewomen and waiters: all are equal in the face of the terror of the advancing people who want to take their heads.. A fairy-tale world that is about to be invaded by the hungry masses, tired of taxes and royal whims. Versailles is the “absent presence”, but New world From Hector Scola, where the palace of nobles never gets into the frame. Through dispatches, news, rumors and arrest warrants, the protagonists of the journey, taking the viewer away from the capital, tell and comment on the fall of the monarchs. There is a “pornographer” Restif (Jeanne-Louis Barraud), Comtesse de la Borde (Anna Shigulla), Thomas Paine (Harvey Keitel) and even Casanova, animated Marcello Mastroianni. In the carriage in which they travel, worldviews, old and new, scandal and old morality (not so ironclad, given the fickleness of the fallen court) collide. All this during the fall of the regime, which is now walking Dead. Meanwhile, the king fled with his family to Metz, the stronghold that was supposed to save what could be saved. The royal carriage never arrived and stopped at Varenna. People could not resist: the hunger was too strong, the wounds were so deep that they turned into gangrene. Only one thing was needed: “To Paris!”. The heads of the two royal puppets had to be cut off.

Thus, Louis XV, played by Johnny Depp, is a withered king. Characterized by the “dark side” that the film struggles to communicate to us. A sick king, quickly killed by smallpox. A suddenly descending parable and told a little briefly. Johnny also looks like his successor Louis XIV: a king on the run.. In his case, from Hollywood, which was once his kingdom. But, as Casanova recalls in Scola, “The king who runs, with every passing minute, becomes a little smaller than the king”. “Du Barry” Maiwenn does not bring back the intelligence and insight of a woman who cut her way through the tangle of court customs and instead seems to have ended up there by accident. Supported by a few puffs of Dauphine and help from de la Borda (Benjamin Laverne), the king’s butler, as well as the only character with a more recognizable profile. The favorite, capable of penetrating the impenetrable world with her charm, leaves without a trace. Madame du Barry was supposed to be something more.. In some cases, the (true) story is more inventive than the movies.

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