An elderly Miss Morrison recounts her life as the once young and beautiful opera singer Marcia Morney-then the toast of Napoleon III's Paris. One evening, she encounters an American voice ... See full summary »
Robert Z. Leonard
Carl Bellairs and Lindsey Lane, his daughter, meet many years after he deserted her and her mother. They don't much like each other, but wind up working in the same nightclub. Bellairs ... See full summary »
Ernest B. Schoedsack
The life of Marie Antoinette (1755-1793) from betrothal and marriage in 1770 to her beheading. At first, she's a Hapsburg teenager isolated in France, living a virgin's life in the household of the Dauphin, a shy solitary man who would like to be a locksmith. Marie discovers high society, with the help of Orleans and her brothers-in-law. Her foolishness is at its height when she meets a Swedish count, Axel de Fersen. He helps her see her fecklessness. In the second half of the film, she avoids an annulment, becomes queen, bears children, and is a responsible ruler. The affair of the necklace and the general poverty of France feed revolution. She faces death with dignity. Written by
The few lines of Swedish spoken by the Swedish count Axel von Fersen are genuine, although Tyrone Power speaks them with a very thick accent. See more »
When Marie and Louis first wedding anniversary is announced, the bells are heard change-ringing. This requires the bells to completely be rotated by a rope wound on a wheel, and was until the 19th century a strictly English way of ringing bells. The bells shown are swinging from trunnions, in the normal French manner. See more »
King Louis XV:
[presenting Marie to Louis the Dauphin on their wedding night]
Louis, I cast this pearl before you.
See more »
Written by Claude Joseph Rouget de Lisle
Played over the opening credits
Reprised as background music at the start of the French Revolution
Played again at the end See more »
One of the best and most sumptuous film biographies of all time.
This film boasts a number of wonderful performances and is a great example of film acting in the thirties and the power of the studios. Robert Morley steals the show as Louis XVI, but equally fine are John Barrymore as the dying Louis XV, Gladys George as Madame du Barry, Joseph Schildkraut as the Duke of Orleans and a whole slew of wonderful character actors who enlivened even the smallest role. Norma Shearer admirably tackles the nearly impossible task of portraying the life of Marie Antoinette from a young girl to a broken woman on her way to the guillotine. In the style of the time, the film has a tendency toward histrionics but for the viewer with patience the overall effect is fascinating. Of special interest to students of art direction. The sets and costumes are incredible.
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