Palais royal! (2005) Directed by Valérie Lemercier
Comedy
Film Review
No prizes for spotting that the life and death of Diana Princess of
Wales was the main inspiration for this royal-themed send-up, the third
directorial offering from the multi-talented Valérie
Lemercier. The fictional royal family portrayed in this film is a
curious melange of the real royal families of Europe, but the storyline
is clearly most influenced by the Diana-Charles debacle which rocked
the British royals to their cold alabaster cores in the 1990s.
The film feels like a back-handed homage to Princess Diana, a warm-hearted
celebration of individuality over conformity with a soulless
establishment.
Lemercier assembles a fine cast which includes some of the biggest
names in French cinema, each of whom gives great value. Who
better to play the scheming Catherine de Medici-like Queen Mother than
the supremely regal Catherine Deneuve, and who better to play her
shadowy eminence grise than Michel Aumont? As the
Diana-like lead character, Lemercier starts out as an appropriately
dowdy housewife who, thanks to some animal-themed exercise lessons with
Gilbert Melki, blossoms into the glamorous People's Princess. Palais royal is an entertaining yet
surprisingly incisive portrayal of how today's monarchies attempt to
exploit the media for advantage, only to end up being abused by the
same media as they fall prey to the endless "bread and circuses" ritual.
The above content is owned by filmsdefrance.com and must not be copied.
Next Valérie Lemercier film: 100% cachemire (2013)
Film Synopsis
Arnaud's carefree life as a playboy prince comes to an abrupt end when
his father, the much-loved king of a European country, is killed in a
skiing accident. Next in line to the throne is Arnaud's brother, Prince Alban, but
his mother, Queen Eugénia, declares Alban is unfit to be king
because he is still a bachelor, and so Arnaud is named the heir
apparent. The news is ill-received by Arnaud's wife Armelle, a
speech therapist who is reluctant to give up her job and her anonymity
to become an object of public scrutiny. Try as she might, Armelle
cannot help embarrassing her husband, and she begins to resent the
humiliations his family subject her to. The final straw is when
she finds Arnaud in bed with her best friend. Intent on revenge,
Armelle decides to use the media to promote herself, at the expense of
Arnaud and his
family...
The cinema of Japan is noteworthy for its purity, subtlety and visual impact. The films of Ozu, Mizoguchi and Kurosawa are sublime masterpieces of film poetry.