There are those who think poorly of talkbacks. They think theater, in many ways an ephemeral art, is to be experienced, not analyzed. This is the same argument made by those who think you shouldn't hold poetry interpretation classes.
The production is representational and simple and at the same time as modern as it is traditional. Everything from balls, to carriage rides, to angry mobs are brought to breathtaking life through a sound scape, a lighting scheme or a glance.
Cranston, just off of Breaking Bad relishes the duality of character. While there aren't many connections to draw between Walter White and Lyndon Johnson, both are tenacious in their pursuit of creating a meth empire and a more just society respectively.
Madame Infamy follows the lives of three extraordinary women who lived during the same historical period but whose stories have never before been told in relationship to one another: Sally Hemings, Marie Antoinette and Madame Marie Tussaud
Mitt Romney and Marie Antoinette stand for the adoration of the privileged few who prosper from great nations and a condescension toward the many who make great nations, whom Romney should salute and not insult.
In Jacquot's reading, the sexual intrigue in this court is woman to woman. Sidonie's watchful devotion is seeded with envy over the queen's homoerotic attachment to Gabrielle de Polignac (Virginie Ledoyen whom Jacquot brought to stardom in A Single Girl).
At a time when viewers are obsessed with Downton Abbey, this film offers an upstairs downstairs French Revolution era glimpse complete with dying rats, gossipy crones, lotharios in gondolas, and the very beautiful queen.
In anticipation of 12/21/12, this past year saw a return of the doomsday film. Melancholia was an okay end-of-the-world movie, but for this fan, it was not a very good Lars Von Trier film. Perhaps a third viewing is in order.