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The King's Whore (1990)
"La putain du roi" (original title)

5.8
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Ratings: 5.8/10 from 540 users  
Reviews: 13 user | 6 critic

Set in the 17th-century, an Italian nobleman weds an impoverished countess, who is wooed by the King of Piedmont and faces pressure from his entire court to succumb to his wishes.

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Title: The King's Whore (1990)

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Cast

Cast overview, first billed only:
...
Le Roi Vittorio Amadeo
...
Jeanne de Luynes
...
Le Comte di Verua
Robin Renucci ...
Charles de Luynes
...
La Comtesse douairière
Eleanor David ...
La Reine
...
Le Duc de Luynes
Amy Werba ...
Heloïse
Franco Valobra ...
Le Duc d'Aoste
Francesca Reggiani ...
Marie Christine
Leonardo Ruta ...
Le Prince Vittorio
Luigi Bonos ...
2nd Priest (as Gigi Bonos)
Elisabeth Kaza ...
Countess Trevie (as Elizabeth Kaza)
Lea Padovani ...
Countess Cumiana
...
Countess Longhi
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Storyline

Set in the 17th-century, an Italian nobleman weds an impoverished countess, who is wooed by the King of Piedmont and faces pressure from his entire court to succumb to his wishes.

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for sexuality | See all certifications »
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Details

Country:

| | |

Language:

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Release Date:

14 November 1990 (France)  »

Also Known As:

The King's Whore  »

Company Credits

Production Co:

, ,  »
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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

John Malkovich turned down the lead role. See more »

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User Reviews

 
Significant Dalton Film
1 May 2009 | by (United States) – See all my reviews

It might be easy to confuse the effectiveness of this movie with the actors' performances. I find that script or editing is generally a culprit when things don't work well, and that may be the case here. The story line, as it's presented, feels disconnected from scene to scene. This is particularly true in the very last scene, which doesn't give us a any information whatsoever about how the King winds up in the condition he's in; we are left to make assumptions. But perhaps it doesn't matter how the king ended up as he did. Alex Corti, director, may only have wanted us to be aware that the King played out a wildly descriptive metaphor for the psychological condition that plagued him throughout the movie. The end makes sense, metaphorically. This is a significant film for Timothy Dalton because his acting is virtually devoid of posturing and hyperbole. I'm struck again and again at how authentic are his reactions, given his grasp of the King's dysfunction. Perhaps because of the story, or the expectations of the director, Dalton seems instinctively aware of the King's passion, obsessive focus and possessiveness. We don't know Dalton in his private life, but I find him most effective when he takes on characters of a dark and threatening nature. I don't think he makes one false step in this movie, which is saying a lot. Of all his films that I've seen, this one--while very dark and difficult to watch for its unrelenting obsession and depressive qualities--is his most authentic; his most believable. Over and above his performance, I don't agree with the other reviewer that Valeri Golino gives us a wooden performance with no nuance. She demonstrates early on that her character is given to spontaneous, unguarded passions; that she is naive to political protocol. Indeed, we see these qualities mature into calculated vengeance, when she has been mortally wounded by the betrayal of her husband and family, at which point she becomes ruthless--as abused victims often are, in the face of too early or horrific a trauma in their lives. She figures out how to play the game to her advantage, and given her natural eccentricity, such a discovery makes her the most dangerous player in the film. At no time, even when she is resisting/ignoring the Kings' advances, do I doubt her wild and iconoclastic streak, which says everything about Golino's performance. Indeed, the King's obsession with her seems a completely natural outgrowth of his admiration for her ability to flaunt protocol, and her intelligence. I think both performances were excellent. It's the general darkness of the script that makes it difficult to watch, and the strange, ham-handed way the director/editor has of piecing together scenes. This is not an action movie, or even a costume drama. It's a movie about dysfunctional motivations, uses and abuses of power, and in this regard the movie is a rather timeless statement on the psychology of individual and political power. Watch it and decide for yourself. Timothy Dalton and Valeri Golino will not disappoint.


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