The film follows the journey of the title character (Kirsten Dunst) the winsome sweet-natured teenage archduchess of Austria who is dispatched by her family in the late 1700s into a politically advantageous marriage to Louis XVI (Jason Schwartzman) the future king of France. While the trappings of the royal palace at Versailles are as extravagant and glamorous as any traditional historical biopic the heart of the film is Marie Antoinette’s smaller more emotional world as she struggles to fit in with the puzzling customs and often-stern judgment of a foreign court. She must also fulfill her duty to her own nation—namely producing an heir to safeguard their political status a task that proves increasingly frustrating as she romances her maddeningly reticent new husband. Much like any modern young woman in our era of airhead heiresses she initially soothes her angst by indulging in excessive shopping sprees wild parties and flirtations with a hunky war hero. But she also eases into her role on the throne only to find that her starving angry peasant subjects have taken a harsh view of the gossip surrounding her profligate behavior as they mount the French Revolution. As a child actress who worked steadily into her teens and early twenties Dunst has always been a fresh sunny presence on screen in popcorn films like Bring It On but who could also reveal an ability to access darker corners as she did in her debut performance in Interview with the Vampire and in Sofia Coppola’s directorial debut The Virgin Suicides. But after her breakthrough role in 2002’s Spider-Man most of Dunst’s subsequent efforts seem to have be chosen more to build her Hollywood stardom than challenge her acting skills and perhaps unchallenged she delivers performances more competent than compelling. Marie Antoinette is a welcome return to a more complicated and conflicted role and she rises to the challenge admirably with her most appealing and most affecting turn to date. Utterly capturing the queen’s evolution from naïf to sophisticate gaining wisdom and maturity from her youthful frustrations and overindulgences Dunst makes Marie’s plight utterly relatable and imbues virtually every scene of the film with a watchability that outdoes even the luxe production design. In only her third—and most ambitious—film writer-director Sofia Coppola continues on her hot streak. Already one of the most atmospheric and subtle helmers working in Hollywood she not only marries her modern dreamlike style to the opulent visuals of a historical drama she effectively redefines Marie Antoinette in a way that any alienated over-her-head teen of today could appreciate while also showing just why the population at large might have considered her a monster. As Coppola is the quiet introspective daughter of a revered famously over-the-top filmmaker she too was thrust into a sophisticated world at an early age and was with her much-panned acting turn in The Godfather Part III certainly misunderstood by the public if not reviled. One is tempted to think a certain reliability applies to her success with her story. But her assured skills as a filmmaker are what really make Marie soar—even her experimental touches such as the use of anachronistic music on the soundtrack (the Strokes Bow Wow Wow New Order and others appear alongside Vivaldi). It make perfect sense in context the kind of tunes a disaffected adolescent might play in her bedroom while wondering why no one understands them. That’s just the icing; the rest of Marie’s delectable cake is well worth eating.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?