QUEEN MARGOT
A film review by Raymond Johnston
Copyright 1994 Raymond Johnston
Directed by Patrice Chereau Starring- Isabelle Adjani, Jean-Hugues Anglade, Virna Lisi,
Daniel Auteuil Based on the novel by Alexandre Dumas (pere)
For those of you who thought "I, Claudius" lacked intrigue or Polanski's MACBETH was weak on the swordplay, there is QUEEN MARGOT. Following the decade long trend of big-budget costume dramas from France that began with DANTON and has escalated upward, comes this lavish historical drama with something for everyone, and perhaps too much for some.
A special English-language introductory text tries to explain the political situation of 1570s France, and a chart of the succession to the throne placed in the theatre lobby help somewhat in deciphering the convoluted story. Early on it becomes clear that it is Protestants versus Catholics, men versus women, young versus old, and washed versus unwashed in a relentless brawl of Royal plots and purges.
Just when the viewer becomes complacent that this is another regal fashion and frolic painting come to life, the film quickly changes. Highly volatile action scenes erupt and dissipate quickly, bringing a sense of urgency and realism to the film. No attempt to soft peddle the dark events of the age is made. Hand to hand violence seldom reaches this level outside of a George Romero zombie film. As quickly as it began, the action falls down into a slow simmer, a hanging threat over the rest of the film.
Playing the role of twisted puppet master is Catherine de Medici. Similar to Lydia in "I, Claudius," she is a demon matriarch who will stop at no foul plan to solidify her power. Virtually all the dark deeds in the highly complex story are at her instigation. Virna Lisi, 1960's glamour icon, makes no attempt to find a good side to her character. She plays Catherine as an aging Black Widow spider in unflattering gowns and make-up. Parenthetically, the character of Catherine de Medici figured into the plot of the recent NOSTRADAMUS. Nostradamus does not figure into the plot of this film.
The title role goes to the beautiful Isabelle Adjani as Queen Margot. Her wedding and its aftermath are the crux of the film. Besides the action, QUEEN MARGOT offers a liberal dose of romantic intrigue. Queen Margot and others in the court take their arranged marriages lightly. The intensely passionate story of Queen Margot and her lover is sure to satisfy costume drama fans that prefer romance to violence. Ms Adjani elicits sympathy for her character, who is more of a pawn than a player in these chaotic times. Some of the romance novel ploys, like wandering the streets in a mask looking for an anonymous lover, may strike some as far fetched. In this film's grand scheme of excess, it is not too far fetched.
Jean-Hugues Anglade, who appeared recently in KILLING ZOE, gives another unrestrained performance as one of the Medici clan. This time the production is so large in scale, that he fits in quite well. The grand subject matter of the French court really lends itself to a broad acting style.
Parts of Portugal are sometimes unconvincingly substituted for France, but that is a minor problem in an otherwise astonishing film. Fans of both action and romance should be quite pleased by this film, if one element does not deter them from the other. From set and costume design to story and performance, this is one of the best films of the year. That it is getting a special one-week-only year-end release alerts one that it is a contender for Best Foreign Film awards.
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