Les adieux à la reine

Written and directed by Benoît Jacquot and based on the novel by Chantal Thomas, Farewell, My Queen explores the death throes of the French monarchy over a period of three days in July, 1789. Set in the Palace of Versailles at the beginning of the French Revolution, Sidonie (Lea Seydoux), known as the reader for Queen Marie-Antoinette (Diane Kruger), is responsible for selecting books and reading them aloud to the queen. Because of her closeness to the monarch, she is able to act as a spy, securing information about events taking place inside and outside the palace, pressing selected servants for information, and eavesdropping on conversations to gather the most up-to-date gossip to pass along to Marie.

The film is seen from Sidonie's point of view, a vantage point that illuminates the sharp social divisions inside the palace with the servants living in crowded rat-infested quarters, and the royals dwelling in opulent accommodations. Lea Seydoux delivers a powerful performance as the devoted servant of the queen, conveying an air of mystery about who she really is in a way that adds to her allure. Kruger portrays Marie-Antoinette as sensual and hedonistic and there is a hint of more than Platonism in the way she interacts with both Sidonie and the Duchess de Polignac (Virginie Ledoyen), a relationship that tests Sidonie's loyalty.

On the morning of July 15th, news spreads rapidly that the king had been awakened at two in the morning. No one knows the reason, but fear spreads throughout the court. If the king is ill, who will protect those totally dependent on the nobles who control their lives? It is soon revealed, however, that the king is not ill, but that a mob has stormed the Bastille and a revolt has begun against the aristocracy. Little information is available. Rumors abound based only on conversations whispered in the hallways and the servant's quarters. When the King travels to Paris and the Queen decides against an escape to Metz, an aura of inevitably descends on the Palace and the nobles begin to abandon ship, competing for places on the coaches seeking a safe haven.

Antoinette makes every effort to continue with business as usual, looking at magazines to admire new styles and colors for the coming season, paying scant attention to the fact that her name is number one in a list of 300 targets for the guillotine. Fearful of losing her only connection to the world, Sidonie is willing to risk the ultimate sacrifice if it is in the queen's best interest. Even though Farewell, My Queen is historically questionable and may hold us at arms length emotionally, it provides a fresh view of events that we know about only from history books or stuffy costume dramas.

Jacquot captures the authenticity of time and place and also the human side of the power struggle. Unfortunately, the film pays little attention to the issues that led to the revolt, never mentioning the abuse of power by the monarchy. Indeed, the Revolution serves only as a backdrop for the story which is more about seduction, loyalty, and betrayal than social upheaval. Rather than making a statement that is relevant for our times, the intricacies of sexual intrigue and love triangles dominate the film, titillating rather than persuading, and making the goings on difficult to care about.

I must admit, when I went to see this film I thought: Not another picture about the revolution in France, I must have seen 20 already. I was pleased to find however that Benoit Jacquot has given the period a lot of thought, and has made one of the more effective costume films in recent years. His Sade of 2000 starred Daniel Auteuil and Isild le Besco, treating one of the lesser figures of the period with great insight into his character. Les adieux a la reine is no less engrossing; he takes us into the cramped corridors of the palace, where the small people live in dingy quarters and hope (usually fruitlessly) to be noticed by the royal couple. The night scene with the courtiers fearfully scanning the list of 286 notables who must have their heads chopped off, lit with a brackish yellow candle light is wonderfully effective.

The performances make the film. Diane Kruger, with her slight accent, makes a wonderful Marie Antoinette: sensing doom, yet still able to reach out to those around her. It's easy to see why Sidonie reveres her. Lea Seydoux, whom I hadn't noticed much up to now, shows much promise as an actress, scurrying around the palace trying to gather information about the riots in Paris. Her face is sometimes sullen, sometimes smiling, always interesting. Xavier Beauvois does well as the King. Finally Virginie Ledoyen as Yolande de Polignac--"the indisputably ravishing but dim-witted Yolande" as Simon Schama calls her. Ledoyen is as imperious and shallow as you could wish. You see how the Queen could lose her head (in both senses) over her.

A marvelous film. Very rarely does a film based on fact, especially a story as infamous as this one, succeed at creating such tension despite the fact that everyone knows pretty much what is going on and what will happen (United 93 springs to mind). As it is director Benoît Jacquot and his team have done a incredible job in capturing the confusion, uncertainty and pure dread that those living at Versailles in the final days of the Monarchy must have felt. Seriously, anyone who's ever dismissed period dramas and films based on true stories as "stuffy", slow and boring should give this one a shot. The cast is also exceptionally strong, led by a group of immensely talented female performers. The only downside is really the ending, unfortunately, slightly anticlimactic and a bit of a let down.

Before going in to see Farewell, My Queen, I really did not know too much about it and now I am glad that I knew little to nothing about the film before I saw it. I knew it was about Marie Antoinette, but that was about it. I haven't seen too many films about Marie Antoinette, other than Sofia Coppola's 2006 film which I liked quite a bit. Both films offer a different look and perspective on her, one of the things I really liked about this film as well. Lea Seydoux does a terrific job playing Sidonie Laborde, who is Marie Antoinette's reader. Seydoux allows her character to have a very curious side to her and at times she is really determined to stand up for what she believes in and can be forceful all at the same time as having an innocence to her as most young women do. It's a great performance and one that I hope leads to a successful career for her. Diane Kruger, who plays Marie Antoinette does a good job as well, but at times I did find her performance a tad melodramatic and so sometimes it felt a bit forced, or over the top. However, both Seydoux and Kruger both do show infatuation and they show it well. I can not go into any more detail than that, or I would ruin the film, but Kruger is especially good at showing Marie Antoinette's more softer and human side. A side that recognizes her fear, her flaws and truths about her own personality. Seydoux's character Sidonie is so loyal to the queen that she almost loves her, but as the film goes on, we are not really sure why. The queen can be very vicious and uncaring to Sidonie, but yet this young woman cares deeply about the queen and what is in the queen's best interest is most important for Sidonie putting the queen's needs even ahead of her own. As, I got thinking about the film, I think this part of it really had an impact on me and touched me and made me think in several ways. Here is a young woman who is more, or less an orphan and goes about her life serving and thinking of ways to keep the queen happy even though she herself lives in squalor and does not have the material wealth, possessions, or honour that the queen has. The queen seems to have everything and yet seems only to think about herself, whereas Sidonie was born with nothing and lives with nothing, but feels in her heart and soul that it is her job to serve the queen and she will do so no matter what, even if there could be consequences to her decisions. My only other complaint about the film was that at times it did feel a bit rushed and maybe moved from one event to another quite quickly, but that did not stop my enjoyment of the film, I think it just asks us as viewers to be a little more patient and do some of the character analysis, or study on our own, or even after the film is over. Even though the film does move by fast we are especially treated to a very good character study of Sidonie, who I think is the most interesting character in the film and probably the one we can relate to and even care about the most. She seems the most human whereas everyone else really does seem to be looking out for themselves and not really caring about what happens to the person next to them. The film does a credible job of showing the majestic costumes and lavish clothes and settings where Marie Antoinette lives, but at the same time it shows the dark and dingy place where Sidonie eats and sleeps and basically calls home. There is an element here showing a class struggle between these two characters and the more you think of it, the more evident it becomes. Farewell, My Queen is a good looking film with a terrific performance by Lea Seydoux, good character study and a film that gives us much to think about and even more to appreciate after the film is over and we have thought it over for awhile. As, I have said before, this is the quality of a great film.

For the next few years, it must be assumed that any film featuring a popular uprising will attract lazy comparisons to the Arab Spring. The wild waters of revolution run swift in Benoit Jacquot's "Farewell, My Queen", set in the days of July, 1789. Over a wet week in France, starving Parisians storm the symbol of state tyranny, the Bastille, seizing guns and ammunition. Protesters issue a list of demands, calling for the beheadings of nearly 300 influential figures. The de facto signs of regime change are everywhere. Dead rats float in the Grand Canal in Versaille; mosquitoes terrorize the members of the Royal household. Marie Antoinette (Diane Kruger), the Queen of France, however, has escapism on her mind – she sits in bed, skim-reading the latest fashion pages.

In this task, she is aided by a number of ladies-in-waiting and her reader, Sidonie Laborde (Lea Seydoux). The young woman is called to run to the palace library and return with books and plays she reads aloud to the queen. We learn she is a member of the queen's inner circle and somewhat infatuated with her employer. She performs her duties with a mixture of fear, envy and respect. When the stench of revolution is impossible to ignore, she is told she will be guided to safety. Understandably, she feels more than a little betrayed when the queen orders her to impersonate a fleeing aristocrat, Gabrielle de Polignac, who will accompany her, dressed as a servant. If she is captured, Laborde risks death, while Polignac will abscond to safety.

This could all be familiar territory – Sofia Coppola's "Marie Antoinette" (2006) took a distinctly sweet-toothed approach to the French Revolution, imprisoning Kirsten Dunst behind tiers of artisan cakes. In Coppola's film, the French royals behaved like party-goers on an episode of MTV's "My Super Sweet 16". "Farewell, My Queen", which is based on a novel by Chantal Thomas, isn't confection of the same variety. This dimly lit and low budget film marks the end of the fantasy world of Versailles, its gilded halls, jeweled furniture and costumed courtiers. The Royal staff bow and curtsy at every available opportunity – in their spare time, they trade gossip about the private indiscretions of their employers and idly speculate the future of post-revolutionary France.

Unfortunately, the inner workings of the court of Versailles simply aren't any match for the layered politics that define teenage life on "My Super Sweet 16". While Coppola's film was candy floss masquerading as history, "Farewell, My Queen" succeeds in laboring every aspect of daily life at the Royal court. We are told, time and time again, there lurks intrigue behind every palace wall – most of it remains frustratingly off screen. At one point, I found myself thinking Laborde's chores were no different from the experiences of any gap year student – and considerably less hedonistic.

The end, when it arrives, is all too predictable. As members of the royal household are attacked on the streets of Paris, the occupants of Versaille decide to flee. As the royals leave for the last time, their carriages bursting with furniture and jewels, the staff is told "the King will now check the temperature of the throne room". Ice-cold, I would imagine. Not unlike Jacquot's French revolution.