JEANNE DU BARRY, France, 2023. Starring Maiwenn, Johnny Depp, Benjamin Lavernhe, Melville Poupaud, Robin Renucci, Pierre Richard, Marianne Basler, Pascal Greggory. Directed by Maiwenn. 117 minutes. Rated M (Mature themes and a sex scene)
Sets, costumes, the Palace of Versailles, the vast grounds, the magnificent interiors . . . All suggest the word ‘sumptuous’. And, indeed, for any audience eager for looking at the sumptuous, this is a strong contender.
It is the story of an illegitimate girl, who though well educated at a convent, becomes the mistress of King Louis XV of France. Of a worldly disposition, Jeanne leaves her home and makes her way to Paris, where she attracts a wealthy clientele as a courtesan. She attracts the attention of the wealthy Count du Barry, who along with other politicians and courtiers bring her to the attention of Louis XV. In the film, it is infatuation at first sight. Jeanne takes her place as chief mistress, but a requirement for some acceptance of court is that she should be married, and this is arranged with the consent of du Barry.
The screenplay is generally accurate (the Wikipedia entry on Jeanne du Barry is worth consulting for those interested). However, it traces the years with the king, where she is despised by his haughty and racist daughters. It documents her growing influence on the king and his reliance on her, the enmity of Marie Antoinette, and the king’s eventual illness and death by smallpox, with Jeanne advised to leave the court for her own safety.
Her subsequent life, not without intrigue, is not dramatised here.
This is the middle of the 18th century. France has achieved extraordinary status and influence under the long reign of Louis XIV. Louis XV was far less interested in political affairs. As the film shows, the aristocratic class was in control, fawning on the king, enjoying a spectacularly wealthy lifestyle, caught up in protocols (even to what looks like a comic withdrawing from the King’s presence, backwards, little jumping steps . . .), ambitions, spite, intrigues, and a vast retinue off to hunt.
For audiences who are of an anti-royal disposition, who are amazed at the lives of the arrogant and spoilt, the revolution could not come sooner. (And some of this attitude is voiced in the final comments before the credits.)
For many audiences, the casting is intriguing. Depp, 60, and after many personal troubles, creates an impression of the king who presumes on his status, is not particularly interested in affairs of state, has a sexual appetite, but growing more self-absorbed and disdainful of his family as time goes on. Often, he looks as forlorn as Depp did as Edward Scissorhands decades ago.
But, the attention is on Maiwenn, who had a hand in the screenplay, produces, directs, and takes the leading role. Chronologically she is far too old for the role but, relishing it, she combines a love of luxury with a rather ironic detachment from the protocols of the court. She goes through the marriage with du Barry (a cynical Poupaud), is presented with a black boy slave whom she mothers and promotes, establishes herself as indispensable to the King. And, as the film continues, the audience can’t help liking her and her humorous disdain of expectations, and appreciative of her sorrow at the King’s death.
There is a fine supporting cast of French veterans but the standout is the king’s completely loyal valet La Borde who arranges everything the king wants. He is played most effectively by Lavernhe.
An immersion in the French court (rather than with the French populace) of the 18th century.
Palace Films
Released 18 April