In France, in the 18the century, Jeanne Bécu was destined neither for the splendor of Versailles nor for the power that gravitated there. Presented to Louis Jealousies explode, discontent growls. A year after a visit to Cannes which caused talk of Johnny Depp in his credits, the film Jeanne du Barryby and with Maïwenn, appears on this side of the Atlantic.
Want not want, echoes of scandals always generate certain expectations. However, despite an absolutely fascinating historical figure as subject, this opulent period film turns out to be more focused on the container than the content.
Costumes with rich embroidery, crazy wigs, authentic and therefore authentically impressive sets… We can say that the budget is on screen. Especially since, apart from its two stars, the film brings together many French big names: Melvil Poupaud, Pierre Richard, Pascal Greggory, Noémie Lvovsky…
However, these are peripheral presences, the plot remaining centered, and it is very good so, on Madame du Barry and her privileged relationship with Louis XV. Besides, what about the elephant in the room, or rather, in the Hall of Mirrors? Good, not good, Johnny Depp? The actor is correct in an atypical restraint, but that is not the question, ultimately.
Controversial from the outset, the decision to give the fallen Hollywood star the role of Louis XV, nicknamed the “Beloved”, may seem provocative or cynical, it depends. However, it turns out that it is above all a curious choice, the American with excellent French, but with an accent nonetheless (despite judiciously short lines), swearing within an essentially French cast.
If it had been one of those international productions where performers from all over the place all play the same nationality with fluctuating accents, the thing would have gone well, but as it stands, Depp’s presence stood out. apparent to a gimmick.
On the other hand, in the title role, Maïwenn opts for a mixture of grace and sincerity to the best effect. Its staging displays an appropriate elegance.
Empty shell
This ambient refinement, however, has the effect of a beautiful empty shell in view of the screenplay, which the actress-director co-wrote with Teddy Lussi-Modeste and Nicolas Livecchi. What is most surprising is that Jeanne is not given the slightest ambition or determination: she is made a passive heroine.
Thus, it was at the request of Count du Barry that Jeanne “consented”, tired of war, to meet the king. Once designated a favorite, she goes with the flow… No agency, except as a maternal figure for the count’s son and, later, for Zamor, a child captured in Bengal and “offered” to Jeanne (the film turns it into cute anecdote and certainly do not venture to make any comments or criticism on human trafficking).
Even the fashions launched by the main interested party are involuntary. As for his famously beautiful mind, it is mentioned, but hardly highlighted. False note: the king’s three daughters, Victoire, Louise and Sophie, grimacing caricatures worthy of Cinderella’s wicked stepsisters.
Everywhere, we are entitled to superficial motivations and surface emotions; no psychological depth, no emotional groundswell for La du Barry. It’s still surprising, and disappointing, given a destiny like his.
In short, this is a fairly average film overall: not enough to bring out the guillotine obviously, but far from a crowning achievement.