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18 of 31 people found the following review helpful:
2.0 out of 5 stars
The Lady and the Duke, 5 Oct 2002
By A Customer
It is rather difficult to summarise the story of this film in one paragraph - the overall impression is that of a string of only loosely connected episodes. The film starts with a brief introduction to the Lady - Grace Georgina Elliott (Lucy Russell), a Scotswoman who regards France as her fatherland and is passionately opposed to the change of order - and the Duke (Jean-Claude Dreyfus) - 'Orleans', a cousin of the king and nevertheless in favour of the Revolution. The first part of the film focuses on how Grace risks her life hiding in her Paris house Champcenetz, a badly wounded aristocrat, who is an enemy of the Duke. Champcenetz flees to England successfully - with the Duke's help - and makes no reappearance in the film. After that, the focus shifts to the fate of the royal family and Grace's compassion for the king and the queen - the Duke's vote in the Convention is decisive, and he chooses to condemn the king to death despite his early promises to Grace. Both the Duke and the Lady are arrested and tried later on - with different outcomes. This is my first encounter with Rohmer, and frankly, I have expected much more from a director this renowned. The film has none of the drama and intensity of the French Revolution. The story lacks logic and development; the opposing political views of the main characters - the central theme - failed to hold my attention for long. Grace's endless tears and quasi-passionate soliloquys (passion is precious in films and not be wasted, or it will lose its effect) are tiring and there is no greater range of emotion. Adamant defiance of the new order is the only distinct thing about her. Rohmer hints at her charitable and caring nature, at her love for the Duke but these traces in her are not highlighted and almost go unnoticed. Instead, she continues to condemn the new regime. This is too little to make up a convincing character. And by the end of the film Lucy Russell's intonations become totally predictable. Musical accompaniment is virtually non-existent; without a thought-through soundtrack the film seemed flat, two-dimensional. The film was made in a studio, so don't expect breathtaking filmings of Paris - and prepare yourself for the exaggerations of colour lithographs. As to the release, no complaints can be made except that there is no English soundtrack for those who want to watch the film in English. If you are happy to watch it in French, be warned that I couldn't turn the English subtitles off, and they can be irritating at times.
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