Isabelle adjani queen margot
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The director, Patrice Chereau, sure that his French audience knows his characters as well, say, as Americans might know the headliners at Woodstock, wants to convey the atmosphere at a court where marriage was a political weapon, Catholic and Protestant were at each other’s necks, and the most useful attendant was the Royal Poisoner.
He opens on a bewildering array of characters who are not established, with motives that must be guessed.
All of the many, many characters on the screen were apparently intimately familiar to those around me, but I was at sea. Puis connectez-vous chacun avec vos identifiants. The highly experienced producer Claude Berri made a point of regularly reminding the director of that fact.
Ten versions of the screenplay
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After four years of hesitation that gave the director Patrice Chéreau many sleepless nights, the actress finally agreed to act in this bloody adaptation of an Alexandre Dumas novel.
That January morning in 1993 was bitterly cold, and it was still dark at 6:45 am. She looked as young as she did in the `Story of Adele H' 20 years earlier.
And now that the film has opened in New York, the ads mention its Special Jury Prize but pointedly do not mention the award for Lisi.
It was clear at Cannes that “Queen Margot” was going to be slow sailing for a North American audience, and Miramax has done what it could to make the experience easier. There is a tremendous amount going on, and Margot's incest with her brothers is more than hinted at.
The searingly sensual Vincent Perez plays La Mole, who eventually becomes Margot's doomed lover.
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Most of the other principals seem to have been chosen for their looks by rent-an-ego casting though Jean-Huges Anglade was suitably pathetic as the doomed King Charles.
Isabelle Adjani, the masterfully ambiguous Queen Margot
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Long Read'Adjani, The Famous Stranger' (5/6).
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Y a-t-il d’autres limites ?
Non. That was until Danièle Thompson, screenwriter of La Grande Vadrouille (Don't Look Now... Very highly recommended.
Philby-3
A bloody French history lesson
French dynastic history in the late 16th century does not seem a promising subject for a film, but Patrice Chereau, a prominent French stage director, has teased out some personal drama out of the larger historical picture, and provided a vivid and absorbing tale.
"You know, Vincent, we won't be making an auteur film with a budget like this," Perez said. Understand?” Isabelle Adjani is one of the more remarkable actresses of her time, and throws herself into roles like this with courageous abandon. That was when the difficulties began.
With a budget of 120 million francs (the equivalent of €30 million today), La Reine Margot would become one of the most expensive productions in French cinema history.
He looked up to Luchino Visconti (1906-1976), who moved fluidly from stage to screen. I found I was able to grasp more on my second viewing. Virna Lisi, a sex symbol in her earlier film career, made a good villainess as Catherine. Remember for example “Camille Claudel” (1989), based on the life of the woman sculptor who was the mistress of Rodin, but whose talent was shrugged aside because of her sex, and who ended up in an asylum.
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Catherine de Medici meanwhile plays politics, and favorites, with her three sons, who mope about while Margot slips aside with la Mole (Vincent Perez), the lover she has found in the streets.
The film proceeds by way of stabbings, fits, rapes, orgies, lies, betrayals and adulteries to its set piece, the St.
Bartholomew’s Day Massacre, at which some 50,000 Protestants were murdered and dumped into mass graves.