Isabella MI I did see this movie not long ago and in my personal opinion, it is not boring at all. In fact I see it as quite exciting because it is one of the few films that comes very close to the historical Marie-Antoinette and her real nature as a human being. I also did see the other film of Coppola and did not agree with it at all cause I thought it to be way too superficial and only showing one side of a very complex historical personality. In fact I was very annoyed and mad about it because it is inexcusable to see such a careless handling of such an interesting and disrupted character like the last French Queen.Actually I honestly am quite surprised as to how few movies actually give justice to the real historical personality and how few details of her biography are told. Reality is never that simple and never as one-sided, and it would be wrong to only show the Queen as someone who loved luxury and ruthlessly spent all the taxmoney of the people, uncaring if they were hungry or not. Coppola completely leaves out the element that luxury often only is a way to evade and to distract oneself of the real problems and important matters of life. One of the important issues in these cases to have a son and to make the dynasty live on, which was the Queen's first "official" task - and this task caused her unhappiness for quite a long time cause her husband did have a phimosis. The other important issue was loneliness, and yes I firmly do believe that she must have been terribly lonely in such a place like Versailles in which there were not many good and decent people to have as friends. She probably would have needed someone like Sidonie, sadly she did not exist.All of this was never mentioned in the Coppola adaptation. "Les Adieux à la Reine" comes closer to reality because it shows Versailles the way it supposedly was back then. It also shows the queen as a real disrupted human being with real emotions like regret and abandonment, and someone who was able to love and being loved in return (not like a lot of "fake" people nowadays). I missed that a lot in the other one which in my opinion gives a totally wrong image of the Queen as the human being she was. Also Coppola did not show the heavy change she went through in the last days of the revolution when she woke up to reality and became considerate, dutiful and thoughtful as well (too late as historians would probably say and it didn't save her from being killed). I give this film 8 of 10 stars because I actually think that the ending sucks somewhat because Sidonie leaves and never comes back. I know the ending wanted to add to the subtility overall but in my eyes that simply didn't work very well. 8 of 10 because I thought the acting to be very impressive and the characters well-described, and plus I think there is a lot of tactfulness to the character development and historical correctness. I think it definitely has the necessary requirements to become a classic overall.

Heinz Mannberger Despite having a great interest in the late 18th century, I have not found many films that strike my particular chords. 'Les adieux à la reine' is one of them, and it does so mainly for two reasons: first, because it nicely shows us the dark underbelly of the lavish gold-plated upper rooms of the French royal palace at Versailles, exposing the system that contradicted the later observation by that inveterate revolutionary Thomas Jefferson, who was the American minister to France from 1785 to 1789, that: 'the mass of mankind has not been born with saddles on their backs, nor a favored few booted and spurred, ready to ride them legitimately, by the grace of God.' Second, because it shows us that for all their faults, the royals and their noble entourage where people too. People who did not voluntarily run for office, who loved their children and friends as much as anyone else would, and whose fears of what might be done to their loved ones and themselves drove them to nightmares and tears. Even if it was true that 'Louis must die that the country may live', as that great butcherer of men, Maximilien Robespierre, later remarked, the violent character of the French Revolution must surely have done great damage to their proclaimed ideals as well.Some have criticized the two main actresses for appearing stiff and lacking spontaneity; and I can certainly see where that is coming from, but rather than seeing this as a negative, I think it works to illustrate the strict protocols and the ever present divides of class and status that permeate life at Versailles. With one notable exception, the personal opinions and whims of Sidonie Laborde (Léa Seydoux) are simply not tolerated by anyone other than her fellow servants. A seeming relaxed and smiling social better instantly turns on her the moment she does anything deemed unacceptable, and when she finally does 'win the love' of Queen Marie Antoinette (Diane Kruger) it is for reasons completely out of line with what Sidonie might have wished for, but should probably have come to expect.Because if there is one thing about the character of Sidonie that I would criticize, it is exactly that: for someone seemingly so inquisitive, so observant of social protocol, and yet so willing to force her will through at certain times, she appears completely unable to assert herself around Queen Marie Antoinette - even when the rats are leaving the sinking ship, to use a Dutch expression. But perhaps this is unfair: perhaps she really did feel unconditional love towards the Queen.Speaking of love, who can fault Queen Marie Antoinette for being completely swept off her feet by Yolande Martine Gabrielle de Polastron, 'la duchesse de Polignac' (Virginie Ledoyen). The movie seems to portray her as a somewhat more recent and distant presence at the court than she was in reality, but regardless, it gives the viewers a peak into the upper layers of society at Versailles. If the adage 'play or be played' is too modern a description, something more contemporary would surely have conveyed the same idea.All in all, I consider this to be a fine film indeed. Diane Kruger gives us one of the more believable portrayals of Queen Marie Antoinette in recent times. If nothing else, acknowledgement of the fact that she was a mother in her mid-30s, and not a frivolous 20 year old, is a good start. But the film goes further, probably in line with the recent trend among historians to view Queen Marie Antoinette in a more positive light.One final note about the supposed pornographic nature of some scenes, pointed out in the reviews of others (mostly Americans); there is nudity, a kiss, and some longing stares. But this is nothing out of the ordinary in French, and indeed most European, films. Don't miss out on this film for fear of seeing a naked torso!

SConIrish In film alone there have been eight representations depicting the life and times of Marie Antoinette. Benoit Jacquot's latest interpretation comes from a screenplay that he and Gilles Taurant adapted from Chantal Thomas's novel. Filmed largely at Versailles it looks closely at the class divide between monarch and servant and how blind love can distort your view. It's told from the point of view of a servant blindly committed to her Queen. Visually sumptuous with a compelling narrative it skilfully avoids the dullness of many period dramas.The story takes place during the last four days leading up to the French Revolution. Culminating in the overthrow of the monarchy and the execution of the King and Queen of France. A young woman Sidonie (Lea Seydoux) is the official reader to the Queen. She is Marie Antoinette's (Diane Kruger) number one fan. Scratching away at mosquito bites and grimacing at the site of a giant rat lurking in the servant's quarters she chooses to ignore all the rumblings and gossip of rebellion and dissent emerging around her. She is an unapologetic servant of the beautiful seductive Queen. Having shared a coffee she observes "It's all going wonderfully well." Marie Antoinette spends most of her time draped in fine clothes and surrounded by gold in her private chambers. She vaguely peruses the latest fashion magazine. She requests embroidery and books, self-absorbed, vain and removed from the realities of poverty and deprivation outside her Palace walls. Running and stumbling and always late Sidonie serves at the behest of her Queen. "So young and already so blind" comments the wise old historian Morcau (Michael Robin). As the days pass the hallways and corridors become crowded with panicked servants and gentry alike. A list of names to be beheaded emerges causing terror amongst the Bourgeoisie. The final hours of a corrupt monarchy reveal a Queen who will sacrifice anyone for the love of her dearest Mme de Polinac (Virgine Ledoyen). Throughout the proceeding Jacquot gives the film a contemporary feel, using a constantly moving camera that follows Sidonie wherever she goes. No conventional traditional set-ups, the fluidity of the camera-work gives the film a sense of urgency. Benoit loves a tracking shot. The Production Design by Katla Wyszkop (Potiche) is worth the price of admission contrasting the emptiness of the maid's quarters, against the opulence of Marie Antoinette's private quarters. Cinematography and lighting by Romain Winding is exquisite. It's as if he's lighting by candle for much of the picture. The performers are all excellent, Kruger captures the seductiveness of the Queen, but it's Seydoux in almost every seen who transfixes with her sublime performance.

gradyharp Les adieux à la reine (Farewell, My Queen) is a luxurious, visually stunning film about the moments before the citizens of France stormed the Bastille and headed for Versailles. Without a rather thorough understanding of that period of French history the film may leave some viewers confused as to the story line. This film is more about the manner in which Marie Antoinette functioned as a queen and as a woman with needs than it is about a precise description of what was occurring outside the palace walls.In July 1789, the French Revolution is forming and gaining momentum. Seemingly oblivious to the people of France, at the Château de Versailles, King Louis XVI (Xavier Beauvois), Queen Marie-Antoinette (Diane Kruger) and their courtiers keep on living their usual carefree lives. The comparison to Upstairs Downstairs is evident - carried to the extreme. The matter of note is the window into the personality of Marie Antoinette who has been having a lesbian affair with the Duchess Gabrielle de Polignac (Virginie Ledoyen). To pass her time away when the Duchess is not available for assignations, Marie fills her hours looking at materials, fashion books, and she has a lady in waiting reader - Sidonie Laborde (Léa Seydoux) - read stories to her. The two become confidants and Sidonie is utterly devoted to Marie, knowing that Marie and Gabrielle are in a relationship. But when the news of the storming of the Bastille reaches them, panic sets in and most of the aristocrats and their servants desert the sinking ship, leaving the Royal Family practically alone. Sidonie remains at Marie's side and as preparations for the evacuation of the palace are made, Marie asks Sidonie to disguise herself as Gabrielle and to escape to Switzerland with Gabrielle and her husband dressed in disguise: should the French stop their carriage it would be Sidonie that would be beheaded, saving Gabrielle to return to Marie when the 'nasty business outside Versailles is over'. Sidonie does as she is asked out of her devotion to Marie and the film ends with only with words of the results of the historical events (the beheading of Marie in 1793 etc) - a quite subtle and fitting ending to a moment of recreated history.The film is based on Chantal Thomas' novel and written for the screen by Gilles Taurand and director Benoît Jacquot. The costumes and settings are magnificent and the other members of the large cast (especially Noémie Lvovsky as Madame Campan and Michel Robin as Moreau) are uniformly excellent. It is an interesting look at the characters of French history and though the film in many ways lacks substance it still merits seeing for the period piece that it is. Grady Harp