Liverpool Sound and Vision Rating 9/10
Cast: Emilia Schüle, Louis Cunningham, Jack Archer, Jasmine Blackborow, Oscar Lesage, Roxane Duran, Caroline Piette, Yoli Fuller, Liah O’ Prey, Crystal Shepherd-Cross, Mathe Keller, Martijn Lakemeier, Freya Mavor, Jessica Clark, James Northcote, Guy Henry, Philippe Tloninski, Maximilien Seweryn, Selva Rasalingam, Callum McGowan.
The second series of the Anglo/French drama Marie Antoinette hits its stride as the narrative gets closer to the moment where the revolution was inevitable.
Royal scandal always makes for good television, anything derogatory or plain embarrassing involving a head of state, especially one who’s larger than life presentation is unearthed as being false, a decoration of breakable and fragile painted glass, is ripe for the comedian, the satirist, and the opposition to use as frequently as possible and without punishment; it is to the end of days for the unbroken line of succession before the French First Republic that satire and anger drove a stake through the heart of monarchy, and one so wonderfully captured by the fashionable and exquisitely production team.
What underpins the series is the minute detail that the script goes into as the Affaire du collier de la rein overtakes theroyal family’s ability to keep track of the hatred and derision they have garnered, that they have been found to be suffering as gossip and lies add fuel to the fire that their lifestyle had created.
It is in this important catalogue of lies and misdirection that the name of Jeanne de Valois-Saint-Rémy becomes one of the most important in French Pre-revolution history, and with hindsight it could be possible to argue that such a moment deserves its own film, and one that reminds the listener of the absolute carnage and dedication to mayhem that was provided by one of literature’s finest creations, Milady de Winter; indeed such is the similarity in cause and effect that it could be wondered if the thief, scoundrel, and adventuress modelled her life in desperation on the literary heroine.
Marie Antoinette shows with comprehending perception that the juxtaposition between rich and poor in the 18th Century was as damaging to society as the yawning chasm between the classes is today. The sense of opulence, the ease of marital affairs, the damning sickness as money is treated like a god in the hands of the ignorant is enough to show just how rotten the state of France was in the reign of King Louis XVI and his wife.
The brilliance of the piece is provided by the actors Emilia Schüle and Louis Cunningham as the Queen and her husband, and the finesse of James Northcote, Guy Henry, and Freya Mavor in their respective roles. Indeed Ms. Mavor’s appeal and grasp of history perfectly installs resolution as she embraces the aforementioned Jeanne de Valois-Saint-Rémy. Such is her prowess in the role it will surely not be long before she is offered the kind of sizeable role deserving of her talent.
An astonishing second series, detailed and rich in its aspirations. Marie Antoinette is the visual ideal of history being explored the television viewer craves for.
Ian D. Hall