Joi du Barry
Life is full of contradictions, confusions and chaos, that is nature and existence in its purist form, such is reality. Despite knowing this for many eons, it has been the giddy folly of Man to try and counter this in as many ways as possible, be it endeavours or constructs in science, mathematics, art, rules, rituals or other ‘callings’.
Maybe this is a subconscious desire or fear to somehow conquer our mortality, manufacture understanding or permanence where there can be none, or possibly our arrogance in trying to control raw nature, as a rancher might break in a horse, dousing the fire of a bronco, as if to control represents the peak of humanity.
Another gesture of such omnipotent aspirational goals is in architecture, the construction of artificial shapes in defiance of what is natural, giant temples to worship and represent the capabilities of humanity, defiance at it’s ‘best’. At least that may be the intention, but as the best laid plans of mice in mansions, the noble objectives often fall hysterically far from the expectations, and there are few more grandiose than the Palace in Versailles.
The palace started out as a hunting lodge in 1623 for Louis XIII and over subsequent years and kings grew ever more opulent and artificial, becoming a surrealist microcosm that despite the clear craftsmanship and phenomenal expense, actually defined and gilded the worst of humanity. Whilst a chosen by birth few lived in intoxicating luxury, the masses lived in squalor and destitution. It was a human circus, effectively trapped animals on a daily display for the whims and wants of French court and monarchy, both the finest and worst of the capacities of people, which ultimately led to the French Revolution.
Despite the inherent class and status gate keeping that was firmly entrenched in this environment, the beautiful chaos that is life, still ultimately reigns, and one such moment is wonderfully presented in Jeanne du Barry (2023) directed/written by and starring Maïwenn.
The film tracks the life, aspirations and rise of a once peasant girl, the illegitimate daughter of a impoverished seamstress, on the constant verge of abject poverty, to the highest and most flamboyant court in the land. She achieved this by using every facette of her being, from her intellect and profound curiosity to learn, to her radiant nature, charm, beauty and notable abilities as a mistress, which ultimately caught the eye of Louis XV, becoming his official courtesan.
It’s a genuinely fascinating and despite some unfortunate aspects, inspiring journey to behold. Maïwenn has said in interviews that she was inspired by the character after being introduced to her via Sofia Coppolas’ Marie Antoinette (2006), and subsequent deep research into her life. She has also stated, which becomes blindingly apparent after seeing her talk about the subject, is the commonality and intertwined parallels they both share, to the extent Maïwenn said she is Jeanne, and Jeanne is her, in the greatest and most radiant ways possible.
As you would expect given the time period, the film is staggeringly beautiful, a swaying sea of mesmerising costumes (some actually donated by Chanel) created by Jurgen Doering, who himself has worked for Chanel and Yves Saint Laurent amongst many other houses, filmed in Versailles, with superb acting across the board.
But what truly defines the film is it’s humanity. Despite the hyper sterile, crated, coiffured and ultimately fake environment that they all inhabited (or more realistically are trapped in), it is Jeanne’s gleeful mockery of the pageantry, customs and fallacy that monarchies exist in, even today in regards the UK royal family, that shines through in every scene. The complete opposite of King Midas, everything she touches, turns to kindness, empathy, love, vibrancy, tenderness, sincerity and sensuality. Much to the ire of the court, as her truth, vitality and origin rightly makes a mockery of their vacuous shallow existence. She is blossoming life, they are bejewelled death.
It is these qualities which clearly made the relationship with Louis last so long. In an world where it was the norm for the King to have as many mistresses as he wanted, each only lasting as long as he was ‘entertained’ by them, she absolutely defied the odds, and again offered a grounding in an abstract prison of what was deemed the absolute pinnacle of culture.
Maïwenn made it very clear that this is not a documentary, there is vast research and factual, accurate happenings, attention to detail, but it is presented with a modern twist, which only adds to the enjoyment of it all. Jeanne’s character screams the coming modernity that’s on the French horizon, the change in society where liberté, égalité, fraternité and joy are recognised as the finest of qualities, and Louis’ potential desire to embrace this, to free himself from the straitjacket facade of oppressive ingrained ceremony and tradition.
It is this balance of old and new, both then and now, that Maïwenn effortlessly dances between, to infuse a rapturously intense passion into the project on every level, which makes it all the more relatable, effectively finding the true beating heart in the sterile opulence of a Fabergé Egg. Added to that is a visual approach that directly echoes Stanley Kubrick’s cinematography in Barry Lyndon, with his use of natural lighting, and supported a sumptuous score by Stephen Warbeck.
As mentioned, it is written by Maïwenn, with Teddy Lussi-Modesteand and Nicolas Livecchi, bringing a sense of scale, awe, joy and a significant amount of comedy, which again, makes it all the more enjoyable and a genuine pleasure to watch.
I’ve deliberately left the potential for some people, ‘l’éléphant dans la pièce’, in that Johnny Depp plays Louis. His first French speaking role, which is surprising as he’s lived in France for many years, and can actually speak French, which may be news to many. Suffice to say, his French is excellent, with zero hint of the American behind it. Maïwenn had originally approached a couple of French actors for the role, but it didn’t work out, and despite understandable concerns from Depp that a foreigner should be playing the character, he’s actually perfect. If anything, his status (another construct as far as he is concerned) as a Hollywood A-list actor, is quite apt in the role of an imprisoned icon, which deliberate or not, brings an element of sadness to the role, which in turns emphasises the shining light of salvation that is Jeanne.
The chemistry between him and Maïwenn is self evident, as it is with all the cast, but in particular with Benjamin Lavernhe who plays his personnel valet, La Borde, one of the few constant, honest people in his life, who are not out to gain anything they can from him.
I’m incredibly biased in my love for film dramas around the Château de Versailles, the fascinating blend of crass humanity, drenched in ornate distraction, gold plasters on plague wounds. Hollow decadence at the expense of everything. There are a great many that I’ve repeatedly watched and loved, hypnotised by the jewelled performance drowning in luxurious sterility, but Jeanne du Barry is the first I’ve seen that had beautiful humanity at it’s core. There’s an energy, vitality, honesty and vibrancy that made me think of Bella in Poor Things, both characters effectively becoming superheroes in the worlds they belonged to. And of course, the costumes are stunning too.
8/10
Jeann du Barry is in UK/Ireland cinemas from 19th April