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Louis (2022)

Movie: Louis

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Language: Malayalam

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Director: Shabu Usman

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Louis (II) (2022)

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Home » Reviews » Malayalam Movie Reviews

Review Of ‘Aadujeevitham-The Goat Life’ – Prithviraj Deserves National Award For His Performance

The goat life offers a captivating cinematic experience, led by prithviraj sukumaran's stellar performance and blessy's skillful direction..

Star Cast: Prithviraj Sukumaran, Amala Paul, Jimmy Jean-Louis, Talib Al Balushi, Rik Aby, Shobha Mohan

Director: Blessy

Writers: Blessy, Benyamin

What’s Good: ‘Aadujeevitham -The Goat Life’ has some serious highlights. First up, Prithviraj Sukumaran kills it as Najeeb Muhammad, nailing the character’s emotional rollercoaster and authoritarian resilience. The cinematography brings the brutal desert terrain and Najeeb’s struggles to life, pulling the audience into his shoes. Plus, the storyline is gripping, and the screenplay is tight, keeping you hooked for the whole three-hour ride. Bottom line: “The Goat Life” delivers a cinematic experience you don’t want to miss.

What’s Bad: While “Aadujeevitham The Goat Life” has many positive aspects, there are also some potential drawbacks. One issue is the exclusion of certain elements from the original novel, which may impact the emotional resonance for viewers, especially those familiar with the book. Additionally, the limited portrayal of Najeeb’s family, particularly his wife Sainu, in only two flashback scenes might disappoint some audience members expecting more depth in their relationship. Furthermore, the feeling of incompleteness at the end, especially regarding Najeeb’s missed reunion with his family, may leave some viewers unsatisfied. Despite these potential drawbacks, the exceptional acting, captivating cinematography, and gripping storyline make ‘The Goat Life’ a worthwhile cinematic experience.

Loo Break: Taking a break during the film is not recommended. You should wait for the interval, but apart from that, it’s best to avoid interruptions.

Watch or Not?: If you enjoy films with compelling storytelling, exceptional acting, and immersive cinematography, then ‘The Goat Life’ could be worth watching despite some potential drawbacks, such as the feeling of incompleteness at the end. However, if you prefer shorter films or are not interested in the subject matter, you should skip it.

Language: Malayalam (original), Tamil, Kannada, Telugu, Hindi

Available On: Theatrical release

Runtime: 2h 52m

‘The Goat Life’ tracks the odyssey of Najeeb Muhammad, played by Prithviraj Sukumaran , as he becomes stranded in the lonely deserts of Masara, Saudi Arabia. Surrounded by dunes and accompanied only by goats and camels, Najeeb suffers harsh oppression as a slave in a foreign land where he is unfamiliar with the language, under the ruthless control of his enslavers.

The film explores Najeeb’s struggles to survive in the harsh desert environment, depicting his gradual transformation from a clean-shaven, healthy man to a frail, dreadlocked figure. facing extreme challenges such as limited food and water.

The Goat Life Movie Review: Script Analysis

The script effectively portrays the evolution of Najeeb Muhammad’s character, showcasing his transformation from a hopeful immigrant to a resilient survivor. The gradual change in Najeeb’s appearance and demeanor reflects his emotional and physical journey throughout the film. Despite some limitations in portraying Najeeb’s family relationships, particularly with his wife Sainu, the script evokes empathy and emotional resonance with the audience. Najeeb’s longing for reunion with his loved ones adds depth to his character and drives the narrative forward. The script explores resilience, survival, and the human connection to nature. Through Najeeb’s bond with the goats and his struggle to find sanctuary in the desert, the script delves into the complexities of human nature and the innate drive to persevere against all odds. Despite the three-hour runtime, the script maintains a steady pace, balancing moments of tension and introspection with character development scenes and plot progression. Including flashback sequences and interpersonal dynamics adds depth to the narrative without detracting from the overall momentum of the story. The dialogue in the script is poignant and evocative, capturing the essence of Najeeb’s inner turmoil and the harsh realities of his environment. The interactions between characters, particularly Najeeb and Ibrahim, are authentic and compelling, enhancing the emotional impact of their journey.

The Goat Life Movie Review: Star Performance

Prithviraj Sukumaran delivers an outstanding portrayal of Najeeb Muhammad in “The Goat Life,” capturing the central character’s emotional complexity and physical transformation. His performance skillfully portrays Najeeb’s resilience, vulnerability, and unwavering determination amidst the harsh desert environment. From initial hope to eventual despair and renewed hope, Prithviraj’s nuanced acting resonates authentically, anchoring the film’s emotional depth and engaging viewers in Najeeb’s compelling journey. Furthermore, Prithviraj’s remarkable body transformation adds another layer of authenticity to his portrayal, showcasing his dedication to the role and deserving recognition, possibly even a national award.

In the role of Sainu, Najeeb’s wife, Amala Paul, delivers a poignant portrayal despite her limited screen time. Her portrayal in the two flashback scenes and a song effectively establishes her character and highlights the emotional bond between Sainu and Najeeb, adding depth to their relationship.

Hollywood actor Jimmy Jean Louis brings depth and charisma to the character of Ibrahim Qadri, Najeeb’s fellow captive in the desert. His performance adds an intriguing dynamic to the narrative and enhances the chemistry between the characters.

The Goat Life Movie Review: Direction, Music

In ‘The Goat Life,’ director Blessy demonstrates a keen eye for storytelling and a solid ability to immerse the audience in Najeeb Muhammad’s world. Blessy’s direction effectively captures the harsh beauty of the desert landscape and the emotional depth of Najeeb’s journey. The film’s pacing is well-executed, allowing for moments of tension, introspection, and character development to unfold organically.

Blessy’s direction also shines in balancing moments of inner turmoil between characters with the grandeur of the desert setting, creating a visually stunning and emotionally resonant cinematic experience. His attention to detail and ability to evoke genuine emotions from both the actors and the audience contribute to the film’s overall success. The transformation between the vast emptiness of the desert and the lush greenery of the rivers in Kerala was terrific. It effectively highlights the contrast between the different worlds portrayed in the film.

Regarding the music, the film’s soundtrack plays a crucial role in enhancing the mood and atmosphere of ‘The Goat Life’. Composed by A. R. Rahman, the music complements the narrative perfectly, heightening the emotional impact of critical moments and immersing viewers in the film world. Whether capturing the desert’s loneliness or the human spirit’s resilience, the music in ‘The Goat Life’ adds another layer of depth to the storytelling and contributes to the overall cinematic experience. The song “Omane,” featuring Prithviraj Sukumaran and Amala Paul, was visually stunning. The transition from the desert to the backwaters of Kerala was remarkable, with spectacular underwater shots enhancing the emotional resonance between the two main leads.

The Goat Life Movie Review: The Last Word

In conclusion, ‘The Goat Life’ offers a captivating cinematic experience, led by Prithviraj Sukumaran’s stellar performance and Blessy’s skillful direction. While the film may have some limitations, such as the exclusion of certain elements from the original novel and the feeling of incompleteness in certain aspects of the plot, its emotional depth, compelling storyline, and exceptional acting make it a must-watch for audiences. From the desert landscape’s harsh beauty to the human spirit’s resilience, ‘The Goat Life’ is a poignant exploration of survival, hope, and the enduring power of human connection.

The Goat Life Trailer

The Goat Life released on 28 March, 2024.

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Must Read: Chamkila Trailer Review: Diljit Dosanjh Brings An Elvis Magic To The Untold Story, As Imitaiz Ali Spins His Sufi Charm

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Aadujeevitham Malayalam Movie

The subject matter of the renowned novel "Aadujeevitham" is not unfamiliar to us. Adapting a popular book into a visual medium presents a daunting challenge, yet writer-director Blessy successfully transcends the imaginative boundaries of its readers with his cinematic expertise. In "Aadujeevitham - The Goat Life," Blessy's remarkable visual acumen and craftsmanship take center stage, profoundly impacting the novel's on-screen adaptation. Despite the plot being rife with hardships and pathos, Blessy's aesthetic approach imbues the narrative with an unexpected beauty, poignantly depicting the desperate existence of a Keralite in the harsh deserts of the Middle East.

Based on author Benyamin's novel, which draws from the real-life experiences of Najeeb Muhammed from Karuvatta, Alappuzha, the story follows Najeeb's unparalleled struggles in the desert after falling victim to a visa fraud. Portrayed by Prithviraj Sukumaran with stunning realism, Najeeb becomes disconnected from the outside world, living as a shepherd in the remote reaches of the desert for years. Alongside him is Hakeem, played by KR Gokul, and Najeeb's pregnant wife Sainu, portrayed by Amala Paul, and his mother (Sobha Mohan) back home, all hoping to forge a new life in the Gulf country.

However, Najeeb finds himself relegated to a life of hardship and isolation, tending sheep under the ruthless rule of his boss, played by Omani actor Dr. Talib al Balushi, and facing the constant threat of starvation. Emotionally shattered and alienated, Najeeb loses hope of ever returning to normalcy until he finds a glimmer of hope with the assistance of an African citizen, Ibrahim Khadiri (Jimmy Jean-Louis).

Prithviraj's transformative portrayal and nuanced performance as Najeeb resonate deeply with viewers, capturing the character's physical and emotional journey with remarkable authenticity and dedication. His ability to convey Najeeb's despair and anguish without resorting to melodrama or artificiality is particularly commendable, underscoring his status as a formidable talent in the industry. Gokul also leaves a lasting impression, particularly in the film's emotionally charged latter half.

Blessy's cinematic interpretation, coupled with Benyamin's evocative prose, creates a vivid depiction of Najeeb's harrowing desert odyssey. A.R. Rahman's soulful music further enhances the emotional depth of the narrative, while Resul Pookutty's impeccable sound design adds to the immersive experience. Visually, Sunil KS's captivating cinematography captures the barren landscapes of the desert, mirroring Najeeb's internal struggles and serving as a metaphor for his state of mind.

In summary, "Aadujeevitham" stands as a testament to the resilience of the human spirit in the face of adversity, with Blessy's poetic direction and Prithviraj's compelling performance elevating it to a cinematic masterpiece. Disturbing yet poignant, the film resonates with audiences, evoking memories of personal struggles and the universal quest for hope and redemption on foreign soil.

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Malayalam movie 'Paradise' bags Audience Jury Award at Las Palmas de Gran Canaria International Film Festival

Malayalam film 'Paradise', starring Darshana Rajendran and Roshan Mathew, clinched the Audience Jury Award at Spain's 23rd Las Palmas de Gran Canaria International Film Festival. Directed by Prasanna Vithanage and co-written by Prasanna and Anushka Senanayake, 'Paradise' weaves a story of emotion, struggle, and resilience. Produced by Newton Cinemas and presented by Mani Ratnam under Madras Talkies, it stands as the inaugural Indian film entirely shot in Sri Lanka.

The audience award is conferred by pre-selected members of the audience, chosen from among the feature films showcased in the Official Feature Films Section of the festival. The award was received by the director at the closing ceremony of the festival. Sri Lankan author Prasanna Vithanage's 10th directorial venture, features a cast, including Darshana Rajendran, Roshan Mathew, Shyam Fernando, and Mahendra Perera.

The crew, including Rajeev Ravi handled cinematography, A. Sreekar Prasad was the editor, Tapas Nayak was the sound designer, and K (Krishna Kumar) was the music director. The trailer of the film was released by Mani Ratnam and is the debut collaboration between Mani Ratnam and Madras Talkies within the Malayalam film industry. Recipient of more than 30 international awards, 'Paradise' is the 10th feature directorial of Prasanna Vithanage.

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The film explores the profound narrative of Sri Lanka's economic crisis in 2022. It was screened in the World Cinema category of the International Film Festival of Kerala and Jio MAMI Film Festival, receiving acclaim from both national and international critics. Distributed by Century Films, 'Paradise' is to be released in June. (With IANS inputs)

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Shabu Usman wrote and directed the film Louis , which stars Indrans. Titi Abraham produced the film in Kotupalli under the banner of Kotupalli Movies Productions.

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India Box Office Collection = ₹ 23 L

World wide box office collection= tba, louis malayalam movie budget : ₹ 3 cr, louis malayalam movie hit or flop : flop, louis malayalam movie cast, release date, budget, ott, review, trailer, music, director,, louis malayalam movie trailer, louis malayalam movie teaser.

Disclaimer:  Disclaimer: The Box Office Data have been compiled from a variety of sources as well as our own research. These data can be approximate and Cinefry does not make any claims about the authenticity of the data.

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Highest-Grossing Malayalam Movies 2024: Manjummel Boys, Premalu and More

By Rohan Verma

In the diverse world of Indian cinema, Malayalam movies have emerged as frontrunners, captivating audiences with their gripping storylines and stellar performances. In the first quarter of 2024, Mollywood delivered blockbusters like Manjummel Boys and Premalu. From action dramas to romantic comedies, each film offers a glimpse into the diverse range of Malayalam cinema.

According to Sacnilk , Mollywood has grossed around $15,27,59,660 in worldwide collections. Among the plethora of Malayalam movies, some of the highest-grossing ones of 2024, which have elevated the collections to new heights, include Aadujeevitham, Aavesham, Premalu, Manjummel Boys, and more.

Manjummel Boys

Manjummel Boys emerges as the undisputed victor in the highest-grossing Malayalam films in 2024. Directed by Chidambaram, this film made its theatrical debut on February 22, 2024, and garnered a massive response from audiences. Manjummel Boys follows the story of a group of friends who go on a trip and get stuck in Guna Cave, also known as Devil’s Kitchen.

In terms of collection, Manjummel Boys has amassed a staggering sum of around $28 million worldwide. The film grossed around $15.5 million in net collection in the Malayalam market alone. For those interested in watching the movie, it will be available to stream on Disney Plus Hotstar starting May 5th.

Aadujeevitham

Prithviraj Sukumaran’s Aadujeevitham secured second spot in the list of the Highest Grossing Malayalam movies of 2024. The film premiered in theaters on March 28, 2024. Based on the novel of the same name, Aadujeevitham explores Najeeb’s real-life story. He found himself trapped in slavery, where he had to herd hundreds of goats in Saudi Arabia. Produced with a budget of $9.6 million, the project was helmed by director Blessy.

According to Sacnilk , Aadujeevitham collected around $9.1 million in India’s Malayalam net collection, bringing its overall worldwide collection to $18.5 million. It also earned the title of the fourth highest-grossing Malayalam film ever.

The latest Malayalam romantic comedy, Premalu, has significantly impacted the box office collection. Directed by Girish A.D., the film features Naseln and Mamitha Baiju in the lead roles. Bhavana Studios produced Premalu with a budget of around $359K. It follows the story of a young man, Sachin, who finds himself between two potential partners for his love life.

With its gripping storyline, Premalu has accumulated around $15.7 million worldwide. In the Indian Malayalam net collection, it earned approximately $7.0 million. For those eager to watch Premalu, it is now streaming on Disney Plus Hotstar.

Fahadh Faasil’s latest action comedy, Aavesham, premiered in theaters on April 11, 2024. Jithu Madhavan directed it, and Anwar Rasheed Entertainments and Fahadh Faasil and Friends produced it. Aavesham revolves around three young bachelors who find themselves in a fight with their seniors. To seek revenge, they seek help from a local Malayali gangster.

While the movie is currently running in theaters, it has already earned the title of the fourth highest-grossing Malayalam film of 2024. Reportedly, it has accumulated around $14 million worldwide and continues to draw audiences. However, whether Aavesham will secure another remarkable spot by the end of its theatrical run remains to be seen.

Rohan Verma, widely known as Wrestling Hindi News, is a multifaceted content creator with a thriving YouTube channel boasting over 100,000 subscribers. While his digital presence is synonymous with the pulse of the wrestling world, Rohan is more than just a sports journalist; he's a versatile content writer and author with a distinct flair.

Beyond the adrenaline of the wrestling ring, Rohan Verma has a deep-seated passion for the Indian movie and TV industry. His unique perspective and keen insights into the intricacies of the entertainment world make him a notable voice in the realm of pop culture.

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Shocker: Johnny Depp’s Comeback Movie ‘Jeanne du Barry’ Doesn’t Totally Suck

QUELLE SURPRISE!

Whatever tabloid reputation now precedes him, Depp’s King Louis XV in French film “Jeanne du Barry” proves he’s still one of cinema’s most magnetic presences.

Nick Schager

Entertainment Critic

Why Not Productions

Johnny Depp has made far more headlines than movies during the past five years, thanks to a series of marital, legal, and professional scandals that have considerably dented his A-list stature. Those continue to this day, as the release of Jeanne du Barry has been greeted with a fresh round of reports that the Hollywood icon was a scary figure on the set of writer/director/star Maïwenn’s French period piece. (Maïwenn has since walked back those rumors .) Yet amidst all this external noise, Depp’s “comeback” performance turns out to be infinitely less wild and over-the-top than his tabloid reputation. Embodying King Louis XV with an understatement that’s as wry as it is imposing, the actor proves that he remains one of cinema’s most magnetic presences—even if his latest project doesn’t do terribly much with him.

Following its world premiere at 2023’s Cannes Film Festival , Jeanne du Barry , which hits theaters May 2, is primarily notable for Depp’s participation, even though he’s merely a supporting player in its 18th-century tale. Instead, the true focus is on its title character (Maïwenn), who’s born Jeanne Vaubernier to a cook and a monk. Seemingly consigned to a simple life of obscurity, the young Jeanne enchants an aristocrat but is seen as a threat by this older man’s wife and is thus sent to a convent, where her fondness for racy reading material gets her tossed onto the streets. There, with her poor mother by her side (and working as her de facto agent), she becomes a prostitute of some repute. Jeanne especially catches the eye of Count Guillaume du Barry (Melvil Poupaud), who takes her into his home, where she comes to love his son Adolph (Thibault Bonenfant) and is befriended by the elder Duc de Richelieu (Pascal Greggory).

Much of Jeanne’s early days are recounted in Jeanne du Barry with the aid of dignified narration, regal compositions (emphasis on magisterial master shots), and Stephen Warbeck’s imperial orchestral score, all of which lend the film its reserved, semi-dreamy stateliness. Jeanne’s initial trajectory is the stuff of fairy tales, since after wowing high-society’s men, Jeanne learns that the King (Depp) has an interest in meeting her. This is a boon for everyone involved, including Guillaume, who gladly accepts a pouch full of gold coins as payment for facilitating Jeanne and Louis’s rendezvous at Versailles. The proceedings get a minor jolt from Jeanne’s subsequent session with the ruler’s trusted valet Jean-Benjamin de La Borde (Benjamin Lavernhe), who lays out the specific rules and behaviors required of those entering the monarch’s orbit. Of particularly amusing note is the demand that Jeanne never turns her back on the King; instead, she must take tiny backward steps whenever departing.

Jeanne du Barry is mildly interesting when fixated on the ins and outs of life at Versailles, where all manner of decorous customs and rituals rule. Maïwenn’s Jeanne is both a lowly nobody eager to fit into this environment and an inherently rebellious soul who cares more about pleasing Louis’s heart and libido than his sense of propriety, and they create sparks during their initial encounter together, thereby solidifying their bond. With the Queen nowhere in sight (and, shortly after Jeanne’s arrival, in the grave), Jeanne becomes the King’s cherished partner. While he becomes energized by her naughty flair—be it her violation of a rule that says she can’t look into his eyes during her official court introduction, or a later outing in which she wears men’s clothes—she’s less appreciated by Louis’s daughters, led by Adélaïde (India Hair), who view her as unworthy of their company.

Maïwenn stages her action in one luxurious drawing, dining and bedroom after another, as well as around Versailles’ expansive grounds, and Jeanne du Barry captures the overwhelming opulence of this most elite of enclaves. The costumes are ravishing and the lighting (often by candles) is sumptuous, and yet there’s nonetheless something staid about the film. The clash between formality and passion winds up being rather tepid, as does the story’s investigation of Jeanne’s predicament as a woman repeatedly hemmed in—and ultimately doomed—by circumstance. The director shrewdly goes light on depicting Jeanne as a proto-feminist, just as she spends fleeting time on the racist reaction by Adélaïde and her hangers-on to Jeanne’s young African page Zamor (Djibril Djimo). Still, whereas didacticism is mercifully absent, so too is energized drama; from one episode to the next, the script (co-written by Teddy Lussi-Modeste and Nicolas Livecchi) coasts along as if on rails.

No matter Jeanne and Louis’s amorous connection (and the chemistry shared by Maïwenn and Depp), Jeanne du Barry is too placid to arouse. Tensions escalate once Marie Antoinette (Pauline Pollmann) makes her debut at Versailles to wed the future Louis XVI (Diego Le Fur), but even at this crucial moment in French history, the film is frustratingly tame. Worse, it limps across the finish line, with Louis’s death drawn out to interminable lengths. To the end, Maïwenn compellingly stirs the imagination through fascinating details about this long-gone world, such as the lamp that’s lit on the King’s bedroom balcony to indicate that he’s alive. Unfortunately, those only sporadically compensate for the lethargy that eventually consumes the film just as fatally as smallpox does the sovereign.

What’s left, then, is Depp, who spends the majority of his screen time strutting about in majestic outfits and wigs, and sitting semi-slumped in armchairs alongside his favorite companion. It’s a role that hinges less on dialogue (of which there is little) than on comportment, attitude and intensity, and in those regards, the actor is more than up to the challenge. Whether he’s making funny faces at his beloved while going through his absurdly pampered morning routine, or chiding his daughters and Marie Antoinette for their treatment of Jeanne by simply giving them individual imposing stare-downs, Depp confirms that he’s lost none of the poise and charisma that’s made him a superstar for the past four decades. It’s undoubtedly too small a part to revitalize his frayed name, but in terms of demonstrating that he’s still capable of commanding a big screen, it’s akin to a minor victory.

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Review: Johnny Depp is well cast in ‘Jeanne du Barry,’ an appealing but distorted biopic

F rench filmmaker Maiwenn stars in her latest creation, “Jeanne du Barry,” a watchable and entertaining costume film where she plays the famous 18 th century mistress of King Louis XV. 

Maiwenn Le Besco (“ Polisse ), who is known professionally by just her first name, is a French triple threat — writer, director, actress. Her last two pictures, “My King” (2015) and “DNA” (2020), were barely released in the United States, but this time she gave herself distribution insurance in the form of Johnny Depp , whom she cast as Louis. 

Depp is the reason that many Americans will see “Jeanne du Barry,” and though his performance has been largely criticized as flat and listless, I think he’s quite good in the role. He exudes the quality of a man weary of kingship, who feels trapped inside formality. Jeanne du Barry, who treats him like a man and not a title, gives him some relief, but there’s only so much she can do for him or him for her.

The film’s first half hour is full of sensitive touches and interesting details. Jeanne is born the child of a servant in a wealthy household, but the master of the house is kind and tends to her education. Years later, she becomes a courtesan and catches Louis’s eye, which sets in motion lots of preparation before she can take her place in the royal bed.

If you remember the movie “ The Other Boleyn Girl ” (2008), Henry VIII’s method of foreplay was to go up to a lady-in-waiting and say, “Tonight.” That was it. But the French have always been a lot more methodical and meticulous, and so Jeanne is examined by a team of doctors and then sequestered for a full week to minimize the chance of venereal disease.

As played by Maiwenn, Jeanne is a happy-go-lucky sensualist, with just enough cunning to maintain a certain mystery for her royal boyfriend. But she is naïve in dealing with court intrigue. A 21 st century woman living in an 18 th -century world, she thinks that being natural and guileless will win over her critics, but it doesn’t work that way.

Casting herself as a naïve young woman is Maiwenn’s strangest move. The real Jeanne du Barry was 25 when she became Louis’ mistress, and the king was 58. But Maiwenn was 46 at the time of filming, and her natural quality, far from naïve, is aggressive, arch and shrewd. Maiwenn spends so much time in this film trying to make herself look harmless by smiling that after a while your face will hurt just watching her.

It seems Maiwenn wants to present Jeanne and Louis as rough contemporaries, so that when he gets gray hair, she does, too. There’s something poignant about the idea of two illicit lovers staying together over many years, but by the time Louis died in 1774, they’d only been together six years.

In a similarly bizarre move, the film tries to make something sentimental out of Maiwenn’s motherly devotion to her African servant, Zamor. But if you know the true history, you know that Zamor turned out to be a horror show, who, years later, would join the revolution and make it his mission in life to have du Barry beheaded. And he succeeded! This is practically like watching a biography of President Lincoln that brings in John Wilkes Booth as a likable fellow.

It’s hard to know what Maiwenn was trying to accomplish here, besides giving herself a juicy and an entirely sympathetic historically-based role. She achieves that, and she’s good in the film — Maiwenn always is — but the “what’s the point of all this” question takes “Jeanne du Barry” down just a notch.

Reach Mick LaSalle: [email protected]

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