“The audacity!” exclaimed the courtiers of Louis XV, shocked by Countess Jeanne du Barry’s boldness in meeting the king’s gaze. It was just one of many scandalous acts that defined their taboo-breaking affair. She lacked a title, she turned her back on him, and she even dressed like a man! It’s no wonder that Maïwenn, a controversial French director, chose to cast herself alongside Johnny Depp in a film that delves into the themes of class and status, with characters willing to risk their reputations.
But Jeanne du Barry also embodies the unique French perspective on sexual impropriety. While the Cannes Film Festival may turn a blind eye to cancel culture, Maïwenn’s latest film sheds light on the French tolerance for infidelity and sexual peccadilloes.
Drawing parallels to Sofia Coppola’s “Marie Antoinette,” Maïwenn takes a different approach, avoiding post-modernism. The opening credits set the tone with a Bonnie and Clyde-style pairing of Maïwenn and Depp, accompanied by a period-rich score. The film initially resembles a gender-swapped version of Tony Richardson’s “Tom Jones,” but with a more subtle and surprisingly unsexy comedic tone.
There are echoes of Voltaire’s “Candide” in Jeanne’s rise from humble beginnings as the illegitimate child of a monk and a cook. She navigates her way through high society, guided by her mother and eventually finding herself entangled with Count du Barry, a notorious playboy. But as the Count’s true intentions are revealed, Jeanne’s path intersects with the wily Duc de Richelieu, leading to a fateful encounter facilitated by palace insider La Borde.
Johnny Depp makes a wordless entrance, reminiscent of Colonel Kurtz from “Apocalypse Now,” adding an unsettling presence to the film. His visual acting skills shine in a memorable scene where Jeanne watches the king’s advisors attend to his morning routine.
Maïwenn’s film is filled with great moments, including a running gag about royal etiquette. Filming key scenes in Versailles adds an immersive authenticity, as does the elaborate costume design. However, the story lacks cohesion, feeling more like a series of vignettes than a cohesive narrative. The drama surrounding Marie-Antoinette’s arrival falls flat, and the film’s energy dissipates towards the end.
While the novelty of seeing Johnny Depp in his first post-trial role will undoubtedly attract international attention, the supporting cast, particularly Melvil Poupaud as the cunning du Barry and Benjamin Lavernhe as the likable La Borde, carries the weight of the film. Maïwenn herself delivers a strong performance, focusing on the tempestuous love affair between a king and his courtesan. However, the passion that supposedly propelled Jeanne to the top is not fully captured on screen, resulting in a somewhat tame portrayal.
In conclusion, “Jeanne du Barry” offers a glimpse into a scandalous affair that defied societal norms, with engaging performances and stunning visuals. While it may not fully deliver on its promise of passion, it remains an intriguing exploration of class and status in 18th-century France.
