Fashion on Film: Marie Antoinette

This is the first of a new series of posts chronicling some of my favorite instances of fashion on film.  I’m a bit fashion-obsessed, besides being film-obsessed, so I had to combine these two obsessions somehow.  First fashionable film: Marie Antoinette (Sofia Coppola, 2006).

Let me start this post by stating that I believe Marie Antoinette is underrated.  It’s probably my favorite of Sofia Coppola’s films (although I have yet to see Somewhere).  Seriously, why don’t more people (and more critics) appreciate it?  After seeing this film, I had a bit of a Marie Antoinette hangover.  I couldn’t shake the feeling it gave me.  I bought the soundtrack and listened to it constantly.  The mix of ’80s New Wave and modern indie rock juxtaposed with the decadence and teenage rebellion of Marie Antoinette’s story was perfect in my eyes (and ears).  I also decided I had to have pink sparklers on my next birthday cake, just like Marie Antoinette.  Mine didn’t exactly have the same effect as hers, however.  They kind of pathetically fizzled out in a few seconds.  I also wanted to eat little cakes and live in ornately wallpapered rooms.  Oh, and I insisted that my friends and I play that fun dinner party game of sticking famous names to your forehead and trying to guess who you are.  For some reason, I thought that was the chicest game ever.  Looking back, my Marie Antoinette obsession was probably a little pretentious…

What I’m trying to say is that Marie Antoinette is visually and stylistically gorgeous and inspiring.  Coppola’s decision to make 18th century France this lush, rebellious, girly place to live (at least for Marie Antoinette) was just brilliant.  And the decision to put Kirsten Dunst in the title role?  Pretty genius, considering she’s arguably the epitome  of hip and youthful.  Sofia Coppola has such an appealing, lyrical style of filmmaking that makes you want to stare peacefully at every shot.  And who could forget those costumes?  They were designed by Milena Canonero, who won the Academy Award for her work.  The costumes are so lush and special.  Those little ribbons around her neck.  Those tiny hats and fingerless gloves.  The colors: pale blues, bright pinks, and crisp beige.  The bright satin shoes.  The feathers.  Teased hair falling in pale ringlets.  The tinted lips and rouged cheeks.  Hell, it was like the original J.Crew.

I remember being refreshed and surprised to see Marie Antoinette wearing a black ensemble complete with a lace mask in one scene in which she attends a ball of some sort.  It’s like her emo outfit.  The dark feather in her platinum hair completes the look.  I absolutely love it.

The film was so fashion-forward that it inspired a Vogue cover and spread featuring Dunst (sporting some very tall, Marge Simpson-esque hair).  If that doesn’t spell awesome, what does?  I think Marie Antoinette is just one of those things (like Amelie, Michel Gondry films, J.Crew stores, or that Coppola-directed Miss Dior Cherie TV ad) that make me feel happy and warm inside, and part of that is because of the film’s take on fashion.  The film’s approach to style is just so carefree and adorable.  You can’t help but smile at it.

Check out the film’s trailer below to get an idea of the unforgettable style.

And while we’re at it, here’s the Miss Dior Cherie ad I mentioned.  Damn it, why can’t I be this gorgeous model roaming the streets of Paris in adorable clothes and sampling delicious treats while a Brigitte Bardot song plays?  Like someone said in the YouTube comments: “I want Sofia Coppola to direct my life.”  Amen.

Playing Catch-Up

Time to play catch-up.  I feel the need to document the movies I’ve seen since my last post, because, well, I do that sort of thing.  Hopefully it’ll give you some ideas.

TiMER (2009): I was lucky enough to see a screening of this film last night.  I hadn’t heard of it until recently, but I’m glad I decided to see it.  Jac Schaeffer wrote and directed this independent film about an alternate world in which most people receive “timers,” devices which count down the days and minutes until you will meet your soul mate.  Oona (Emma Caulfield) has a blank timer, meaning her “one” hasn’t received his device yet.  Frustrated with not knowing when her true love will come along, she takes a risk and falls for Mikey (John Patrick Amedori), a younger supermarket cashier with four months left on his timer.  The plot is certainly reminiscent of recent indie fantasy comedies (Eternal Sunshine of the Spotless Mind, Cold Souls), but it has its own realistic flavor.  The concept is original and well-executed, and it really made me think about the way our society portrays love and commitment.  The film feels very natural in its portrayal of romantic relationships (calling to mind (500) Days of Summer), and there are a number of funny, charming moments.  I don’t think it fully lives up to its predecessors, but it’s definitely worth a viewing, if only because it’s an refreshing take on the romantic comedy.

The Virgin Suicides (1999): This rounds out my familiarity with Sofia Coppola’s trilogy (along with Marie Antoinette and Lost in Translation), at least until Somewhere comes out later this year (So excited!).  I was really impressed with how Coppola established tone in this film.  Her three films are quite different in subject matter and mood, but they all have that distinctive Sofia Coppola style.  The Virgin Suicides, her first feature-length film, tells the story of a group of sisters who attract the attention of the neighborhood boys.  The girls are sheltered by their religious parents after one of the sisters kills herself.  Coppola deftly handles this eerie subject matter.  One can understand why the boys are so fascinated with these strange girls and their strict upbringing.  The tone, especially toward the end of the film, is haunting and extemely effective.  The film also contains absolutely stunning cinematography.  It’s spot on in reflecting the girls’ ethereal nature.

Dick (1999): This is how everyone should learn about American history, along with Forrest Gump.  And 1776.  Just listen to this plot: Michelle Williams and Kirsten Dunst are ditzy teenage girls who wander away from a school trip to the White House and meet President Nixon.  They unknowingly become entangled in the Watergate coverup.  The film, directed by Andrew Fleming, is funny and enchanting from start to finish.  Williams and Dunst are adorably endearing, bringing to mind Alicia Silverstone’s Cher in Clueless.  And the clothes are absolutely adorable.  The biggest problem I had with the film was its portrayal of Woodward and Bernstein as bickering, inept idiots.  Since everyone else in the film was so incompetent, it seemed like overkill to me.  But their roles are rather tiny, and they don’t detract from the film’s overall charm.

But I’m a Cheerleader (1999):  Continuing with the 1999 theme, I watched this movie, directed by Jamie Babbit.  It’s about a teenage girl who’s sent to gay rehab when her parents suspect her of being a lesbian.  The film has a John Waters feel, with unusual costume choices and colorful sets.  The characters are of course extremely quirky.  The film is entertaining and funny, but it can be contrived at times, as if it’s trying too hard to be eccentric.  I would suggest it for fans of John Waters.

Sharktopus (2010):  See this movie.  It will define our generation.