Metascore
67

Generally favorable reviews - based on 20 Critics

Critic score distribution:
  1. Positive: 11 out of 20
  2. Negative: 0 out of 20
  1. Reviewed by: Mark Feeney
    Jul 26, 2012
    63
    One of the movie's strengths is how we see the revolution - or, rather the anticipation of it - not from the perspective of royal or radical but courtier and servant.
  2. Reviewed by: Roger Ebert
    Jul 19, 2012
    88
    Benoit Jacquot's engrossing film tells a story we know well, seen from a point of view we may not have considered.
  3. Reviewed by: Owen Gleiberman
    Jul 11, 2012
    50
    Benoît Jacquot's film is shackled to a blah bourgeois leftism.
  4. Reviewed by: Kenneth Turan
    Jul 12, 2012
    90
    Matching the strength of these actresses and their personal drama is the film's masterful sense of time and place - the way it makes us feel that this was how it was during four pivotal days in July 1789 as the wheels came off the French monarchy.
  5. Reviewed by: Stephanie Zacharek
    Jul 12, 2012
    60
    The picture coasts along quite nicely on the strength of its contemplative sensuality, its macaron colors, and the exquisite beauty of its three chief actresses, Léa Seydoux, Virginie Ledoyen and Diane Kruger. Oh, and there's nudity in it too, not to mention lesbian undertones – or are they overtones?
  6. Reviewed by: Elizabeth Weitzman
    Jul 12, 2012
    60
    Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.
  7. Reviewed by: Kyle Smith
    Jul 13, 2012
    50
    Jacquot's lavish décor and costumes are like the perfume the women use instead of bathing: They may cover up the willful carelessness at the center of the project, but it's still there.
  8. Reviewed by: Steven Rea
    Aug 2, 2012
    75
    Seydoux, no doubt best known for her kickboxing catfight with Paula Patton in "Mission: Impossible - Ghost Protocol," gives a quiet, watchful performance, suggesting fealty for her lady but also a strong independent streak.
  9. Reviewed by: Mick LaSalle
    Jul 12, 2012
    100
    Other films about Marie Antoinette have had their moments, but Benoît Jacquot's Farewell, My Queen is the first to give a real sense of what it must have felt like to live inside that palace as the walls were caving in.
  10. Reviewed by: Jesse Cataldo
    Jul 10, 2012
    88
    Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not.
  11. Reviewed by: Joe Williams
    Aug 10, 2012
    88
    Richly photographed and featuring an attractive cast, Farewell, My Queen is a layer cake of royal pleasures, rote protocols and revolutionary politics. For skeptics who thought this story had grown stale, let them eat their words.
  12. Reviewed by: Scott Tobias
    Jul 11, 2012
    75
    Working from Chantal Thomas' novel, Jacquot doesn't entirely scrape the gloss off this love triangle, which plays neither as a florid bodice-ripper nor as emotionally complex as it might have been. It stays on the surface, but at least that surface is gorgeous.
  13. Reviewed by: Deborah Young
    Jul 10, 2012
    80
    Historical drama set in the early days of the French revolution is intelligent Euro eye candy at its most lavish.
  14. Reviewed by: Manohla Dargis
    Jul 12, 2012
    90
    Benoît Jacquot's tense, absorbing, pleasurably original look at three days in the life and lies of a doomed monarch.
  15. Reviewed by: Jessica Kiang
    Jul 25, 2012
    50
    Manages to be both overwrought and strangely lacking in drama, staggering under the deadening weight of an uninvolving central character. It is a shame, because many of the elements were in place for something much more compelling.
  16. Reviewed by: Keith Uhlich
    Jul 10, 2012
    60
    Once the rote plot takes over - the tension brought on by the film's you-are-there verisimilitude quickly devolves into soapily overwrought theatrics.
  17. Reviewed by: Justin Chang
    Jul 10, 2012
    50
    A well-observed but emotionally muted costume drama that might well have been titled "My Week With Marie Antoinette."
  18. Reviewed by: Melissa Anderson
    Jul 10, 2012
    60
    The pleasure of Jacquot's film is in watching various strains of discreet, heated, and deluded passionate attachment performed.
  19. Reviewed by: Joe Morgenstern
    Jul 12, 2012
    40
    The story refuses to combust; it's a strangely unsatisfying combination of bloodless observations and unresolved sexuality.
  20. Reviewed by: Stephanie Merry
    Jul 26, 2012
    75
    The foreboding and chaos contrast neatly with the lavish costumes and sets. Versailles takes on the feel of a gilded fortress, behind which the serving class hopes to hide. But money can't buy everything, including, in this case, security.
User Score
7.1

Generally favorable reviews- based on 13 Ratings

User score distribution:
  1. Positive: 0 out of 2
  2. Negative: 0 out of 2
  1. Aug 6, 2012
    5
    After 3
  2. Jul 27, 2012
    5
    The French Revolution kicked off in 1789, not too long after America's ended. Fortunately for King George III, he lived in London and notThe French Revolution kicked off in 1789, not too long after America's ended. Fortunately for King George III, he lived in London and not Philadelphia or Boston. King Louis XVI and his wife Marie Antoinette were not so lucky; their revolution sprouted on their doorstep. The four days which Farewell, My Queen covers, 14-17 July 1789, were dark days indeed for the French monarchy and their noble hangers-on. Nobody leaves Versailles because it is too dangerous, the Bastille is stormed, and there are pamphlets floating around Paris of 286 named individuals whose heads the revolutionaries wish to chop off. The number one name on that pamphlet is Marie Antoinette (Diane Kruger).

    Unlike Sophia Coppola's 2006 version of this story, Marie is not as young as she once was. She misses her youth but appears to have found company with the Duchess Gabrielle de Polignac (Virginie Ledoyen). Scandalous rumors circulate not only throughout the palace of the extent of their liaisons, but also through the rest of France. Many believe the Duchess is just as responsible for the people's miserable state of affairs as are the King and Queen. In fact, her name is number three on the guillotine wishlist. However, both of these ladies are merely supporting characters in Benoit Jacqot's version; their story is told through the eyes and ears of the queen's loyal reader, Sidonie Laborde (Lea Seydoux). Sidonie is at the queen's beck and call whenever she feels in the mood for a play or a novel to be read to her. She does not have a more devoted subject; Sidonie absolutely worships the queen is all she does or could do. The queen recognizes the true adoration in Sidonie's eyes and so employs her as a sort of sounding board and confidant; not to the extent of Duchess de Polignac's level of intimacy, but nonetheless, Sidonie is one of the closest servants to the queen. The other palace servants take note of this and Sidonie appears to be among the more higher-ranking servants. Even downstairs in the servant's quarters there is a caste system of hierarchy and rank. Because Sidonie is extremely well read and discreet on top of it, she is quite the capable spy who can ferret out closely held information when events start to pick up the pace outside the palace walls. Sidonie knows which servants to press for info, whose palms need greasing, and in which particular dark corner of the room to stand to eavesdrop on conversations to acquire the most up to date gossip on how the queen is feeling, who woke the King up in the middle of the night, and how close the revolutionaries are getting to the outside walls.

    Unfortunately, what sounds like deep palace intrigue and an interesting history lesson in the French Revolution mostly lands with a thud on screen. Marie Antoinette is seen a few times and the Duchess hardly at all. A movie which spends a lot of time discussing the truth and falsehoods of their relationship only puts them in the same room together once. Sidonie holds your interest as she scurries back and forth trying to please the queen but her limited view of the action also limits the audience's view. As the situation becomes more pressing and hectic, the camera almost latches on to the back of Sidonie's neck as she runs down the long, slick hallways of Versailles. Towards the end, the camera work was becoming a bit distracting. One should not notice the camera's movements too much but after another jerky movement to the right and back left or another awkward close-up, I wished they would just place the camera on a tripod and let it be. What the cinematographer may have thought was innovative and eye-catching was more irritating and a case of needless showboating.

    The art and costume directors must have had a field day though. Any film set in 1789 Versailles probably has these types of creative personnel lined up down the block raising their hands to get a shot at it. While Farewell, My Queen works on an aesthetic level to produce a great looking period piece (minus the camera), this film is only for the Francophile. Those who relish any story of Marie Antoinette will probably love this movie no matter what. There is a lot of name dropping and whoever remembers their pre-Napoleon French history class from college may smile and nod as name after name is casually mentioned in conversation. For those who are a bit more discerning in their historical fiction though, you will not take very much away from this film you do not already know. Go enjoy some French wine instead or pick up a copy of A Tale of Two Cities to quench your French Revolution itch.
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