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At times, it's as much rock opera as biopic and, now I think of it, Benoit Magimel's Louis is the spit of Roger Daltry's Tommy and Boris Terral's Lully a dead ringer for Marc Bolan.These resemblances aside, the film is luxurious, a glimpse of ballet's progenitor and Louis XIV's conflation of art and politics.He portrays who is sexually besotted with his monarch.For Louis, the relationship is more pragmatic - he needs Lully for the dance, a representation of his sovereignty rather than their intimacy.The Dacian kingdom lies at the eastern border of the Roman Empire.Only the river Danube separates the two mortal enemies.However I prefer a more disturbing,uncomfortable view of history than the typical Hollywood style of idealizing historical characters whether if actually good,bad or just complex(a mixture of good and bad,like most historical characters and most people really are).
The style,imagery,artistic means of this film reminded me of another much talked about film which also deals with a composer, Forman's Amadeus-in both films we see certain taste for the dramatic, even overtly theatrical,for haunting and often violent scenes,for the grotesque and almost disturbing.
The Dacian king Decebalus knows that soon the vastly superior Roman legions will cross the river and attack Dacia. The viola da gamba player Monsieur de Sainte Colombe comes home to find that his wife died while he was away.
In his grief he builds a small house in his garden into...
Young Queen Margot finds herself trapped in an arranged marriage amidst a religious war between Catholics and Protestants.
She hopes to escape with a new lover, but finds herself imprisoned by her powerful and ruthless family.
With the prince's political ambitions at stake, its essential to please him.