Quick Treasure: Another Versailles Autochrome by Jules-Gervais Courtellemont

I've really fallen in love with these romantic autochromes of players/actors at Versailles, taken by Jules-Gervais Courtellemont. This next scan is of a print made from an autochrome, but is still lovely nonetheless.

 

image: players reenact life at the Temple of Love

credit: my collection

Marie Antoinette Meets Scarlett O'Hara (In a Manner Of Speaking)

I made a post on my Tumblr recently about a random Marie Antoinette sighting in the graphic novel Interview with the Vampire: Claudia's Story by Ashley Marie Witter. In the novel, Claudia--the titular vampire, of course--is shown holding a Queen playing card with a double-image of Marie Antoinette.

That post in turn reminded me of another "Marie Antoinette sighting" that I spotted some time ago: a portrait of Marie Antoinette that appears in the background of Gone With The Wind. There's something a little thrilling about spotting Marie Antoinette in any medium--book, film, television or beyond.

Are there any fun "Marie Antoinette sightings" in film or television that have made you take a second look?

On the Cutting Room Floor: Madame du Barry's Boudoir

A little background: I have been fortunate enough to acquire a copy of the shooting script for the incomparable MGM Marie Antoinette film. The primary reason I made the purchase was to gain access to some of the cut and altered scenes which, though present when the film was shot, were ultimately removed from the final film.

In my last Cutting Room Floor post, we took a look at a brief scene between Louis XV and a groom-to-be, Louis-Auguste. This introductory scene was probably viewed as superfluous to the story, given the fact that much of the dialogue was repeated only minutes later in the "wedding night" scene between Louis and his new wife.

This next deleted scene was yet another introduction, which immediately followed the cut scene between Louis XV and Louis-Auguste and preceded the arrival scene between Marie Antoinette.

To set the stage (or sound stage, as it were): The scene begins as the carriage procession of Marie Antoinette is arriving to Versailles, to great applause and cheers.

---

SHOT: APARTMENT OF DU BARRY AT VERSAILLES. MED. SHOT OF WINDOW FROM OUTSIDE.

The cheers continue - long and loud. Four of Du Barry's ladies-in-waiting are leaning eagerly from the open casements.

1st Lady

(excitedly)

That's her coach--there!

SHOT: BEDROOM OF THE DU BARRY AT WINDOW SHOT FROM WITHIN.

3rd Lady

It's drawing up!

(she swings around to face the room)

Oh, do come, Madame Du Barry - you must see!

BED OF DU BARRY

A great painted affair with gorgeous draperies. Du Barry, hard, blond, cheap, sits propped among silken cushions, sweetmeats, perfumes, fashion pictures. Her face is venomous as:

Voice of 1st Lady

I wish we could go downstairs. I can't understand why His Majesty wouldn't--

Du Barry sits up, ominously.

Du Barry

(deadly)

His Majesty wouldn't what?

SHOT: GROUP OF LADIES

Turned now from the window, petrified with alarm.

Voice of Du Barry

(in rising rage)

His Majesty wouldn't allow me to come down to the reception--is that what you mean to say?

SHOT: CLOSE SHOT, DU BARRY

Du Barry

(furious)

His Majesty doesn't give me orders! I give him orders!:

(shocked cries from the ladies)

The reason that I don't attend the reception is that I'm ill.

(she suddenly screams)

Ill, do you understand! Ill! Ill!

There comes a sudden burst of wilder cheering, the clash of martial music, Du Barry leaps like a tigress from the bed, swishes rapidly over to the window, pushes the startled ladies aside and looks down.

SHOT: CLOSEUP, DU BARRY.

Tight-lipped, resentful, staring somberly down to the wave of cheering, the welcoming march. 

---

Although the scene doesn't radically alter the storyline, I feel like its removal does slightly detract from the antagonistic relationship developed between Madame Du Barry and Marie Antoinette in the first half of the film. It gives Madame Du Barry more of a complex, underlying resentment against Marie Antoinette which gives more weight to her behavior and actions after Marie Antoinette has settled into life at Versailles.

In the final film, Du Barry doesn't make an appearance until 2 years after Marie Antoinette's arrival, when she mocks their wedding anniversary and chides the courtiers for leaving her aside in favor of "the Austrian." Her hatred for Marie Antoinette is more or less attributed to the fact that the court abandoned her for a brief time and, as Louis-Auguste tells his new wife on their wedding night, "because she [Marie Antoinette] will be queen." 

But in this cut scene, however, we find out that Madame Du Barry has been deliberately excluded from a socially significant event because--as the film later implies--her modest background is a source of detraction among the court and even the King, who refused to let her attend. This earlier scene would have added more weight to two scenes: the scene where Madame Du Barry attacks Orleans for his pamphlets ("I wasn't a laundress--I was a milliner!") and the scene where Marie Antoinette drives home Du Barry's humble background in the dramatic ball confrontation scene.

I can see why it was ultimately removed, however--and I suspect it was likely removed for time more than anything else. The focus of the film is on Marie Antoinette and not Du Barry, even though their relationship is the primary conflict behind the drama of the film's first act. Removing a quick Du Barry scene would not have impacted or detracted from the main story, even if it did deprive us of a little bit of characterization.

From Marie Antoinette's Garden: Rose

 

image: detail of a portrait of Marie Antoinette with a rose by Elisabeth Vigee-Lebrun

The gardens of Marie Antoinette's Petit Trianon were legendary for extraordinary beauty. Marie Antoinette adored flowers and her love for them is most apparent in the magnificent gardens she had cultivated in her name at Versailles and the Petit Trianon. The upcoming horticultural album, From Marie Antoinette's Garden, takes readers on a literary stroll through the most prominent of the flowers and plants found in the gardens of the queen.

In 1770, Louis XV presented Marie Antoinette--then a young dauphine--with a rather unusual portrait, in which she was depicted as the center of a rose. Although the portrait has since been lost to the ages, its description brings to mind the undeniable association between Marie Antoinette and this most famous flower.

Roses were a part of almost every aspect of Marie Antoinette's life; from her portraits to her bedroom walls to the magnificent gardenscape of the Petit Trianon--even the queen's fashion choices hearkened back to her love of these beautiful blooms. During the heyday of the floral, country-inspired fashion associated with the Petit Trianon, both fresh and artificial roses were used as garlands and other ornamental decorations for their nature-inspired ensembles.

 

image: detail of Marie Antoinette holding a rose from a 1778 portrait by Elisabeth Vigee-Lebrun
credit: (C) RMN-Grand Palais (Château de Versailles) / Gérard Blot

Roses can be found in many of Marie Antoinette's portraits. Roses may have been a symbolic nod to her Austrian heritage; they may also have been used as a symbol of her Christian faith. In Christian paintings and engravings, various types of roses were often used to represent the rebirth of Christ, the Holy Trinity, and other important Christian iconography. The dog rose, just one of the roses chosen to populate the Petit Trianon, was used to symbolize both the five wounds of Christ and his rebirth. In mythology, the Rose was associated with love, fertility, and beauty.

 

image: detail of a portrait of Marie Antoinette, attributed to d'Agoty; rose bushes can be seen in the background

Roses could be found in almost every nook and cranny of the Petit Trianon. In 1779, Marie Antoinette wrote to her mother that she had "innumerable rose varieties, of which my gardener is so proud, that people of his profession come to study them[.]" The interior of the Temple of Love was once decorated with rose garlands tied with ribbons, which only added to the fragrant floral scent which filled the air of the Trianon.

 

image: Dog Rose

credit: AnRo0002 on Wikimedia Commons

One of the rose varieties grown at the Trianon was Rosa canina, or Dog Rose. The dog rose has large pink or white flowers which, although not very fragrant, were especially appreciated in 18th century gardens for their "wild" appearance.

 

image: Dog Rose

credit: AnRo0002 on Wikimedia Commons

Marie Antoinette may have loved the rustic, untended look that these flowers brought to her gardens, which she planted after the carefully designed "natural" English style. In 1784, over two thousand dog roses were delivered to the Trianon to be planted in Marie Antoinette's garden.

image: A painting of Rosa centifolia foliacea by Pierre-Joseph Redouté

Another type of rose favored by Marie Antoinette was Rosa × centifolia, or the Cabbage Rose. The cabbage rose, also called the provence rose, initially was developed in the 17th and 19th century by Dutch rose breeders. It is a hybrid breed, although its exact hereditary history is not known. Its name comes from the globe-shaped flowers, which have a similar appearance to cabbage.

The cabbage rose was also used in fragrances and perfumed beauty products. Jean-Louis Fargeon, a perfumer favored by Marie Antoinette, used cabbage roses in many of his creations. It is still used by modern perfumes due to its rich fragrance.

 

image: a cabbage rose

credit: quinnanya on Flickr

The dog rose and cabbage rose are just two of the many flowers and plants to uncover in the upcoming publication, From Marie Antoinette's Garden by Elisabeth de Feydeu, set for publication on September 3rd, 2013.

Quick Treasure: Madame Elisabeth's Dress

  

credit: Conseil gén Yvelines/©EPV / Christian Milet

This modern interpretation of a dress worn by Madame Elisabeth in a contemporary portrait by Charles Leclerq was created and displayed for the recent (and sadly, concluded!) exhibition on Madame Elisabeth, which was held at her estate of Montreuil.

 

image: A portrait of Madame Elisabeth by Charles Leclerq

credit: (C) RMN-Grand Palais (Château de Versailles) / Gérard Blot

The portrait which inspired this dress was completed in 1783, when Elisabeth was only 19 years old. 

Images taken during the construction of the desk were, fortunately for us, uploaded to the official Conseil général des Yvelines Flickr page. You can view the full set here.

credit: ©EPV / Christian Milet

 

credit: ©EPV / Christian Milet

credit: ©EPV / Christian Milet

 

credit: ©EPV / Christian Milet

Tea Fit For a Queen: Nina's Paris Tea Review

NINA's Paris, best known for their high quality tea, has a long and illustrious history providing fragrances and other luxury items to the court of France. Today, they are best known for their luxury teas, which were once only available at their shop located in the heart of Paris. Nina's has recently been expanding their business internationally--including several small Nina's salons in Japan and Korea as well as an increasing number of products available to North American countries, including the United States.

One of Nina's many claims to fame is their official partnership with Le Potager du Roi (Kitchen Garden of the King); Nina's uses only the carefully cultivated apples and roses hand-picked from the King's Kitchen Garden for their products. Although the other ingredients used by Nina's in their teas don't come with a Versailles pedigree, they are nonetheless flavorful, aromatic and delicious.

I recently requested and received several samples of some of the more intriguing teas currently offered by Nina's. None of them disappointed, and a few even surprised me! Shall we take a closer look?

  

Marie Antoinette

The first tea that I sampled was the Original Marie Antoinette, arguably Nina's most well-known tea offering.

The ingredients, as listed on the Nina's Paris website:  Rose petals, apples, rose.

Upon opening my sample tea bag, the very first thought was: "Apples!" The raw tea leaves have noticeable autumn apple scent with a bit of a rose undercurrent. I initially steeped the tea for about three minutes and the result was a very delicate rose black tea with a hint of apple underneath. "Delicate" is definitely the word to describe the flavor, which is rather subtle. I am not usually partial to black teas, but the flavor is light and dainty enough to never be overpowering. A perfect light tea for an afternoon garden party!

 

Versailles Rose

The next tea I sampled as Versailles Rose, a black tea made from rose petals, sunflowers and grapefruit. The Nina's website describes this particular tea as a "sunny blend" that is sure to wake you up--and it is definitely a perky tea! I wonder if this is due to the grapefruit? Regardless, the flavor of this tea was actually more subtle than the Marie Antoinette. The base black tea has the strongest flavor, which is smooth with some nuttiness. The rose and sunflowers gave the base tea an herbal-floral taste, with the grapefruit providing a tiny hit of citrus to help balance out the flowery brew. A great tea for a morning cup, although the subtle flavor might be too subtle for some.

 

Magicienne

The third tea I sampled was Magicienne, a unique green tea made with pineapples and coconut. I usually stick to floral or specific fruit (raspberry! yum) teas, but I decided to try this flavor because it had been getting pretty rave reviews in the tea community. I was definitely not disappointed! The base of the tea is almost creamy with an almost candy-like pineapple flavor, and finally a dash of coconut. The final blend almost had a marshmallow-like taste to it, although not quite as sweet. Definitely what I would consider a "dessert" tea!

 

Pour Maman

Finally, I tried Pour Maman, a black and green tea blend with rose petals, red fruits, vanilla and blue mallow. I was initially wary because of the black/green blend, since I've read that these can have an astringent taste to them, but my worries melted away after the first few sips! The base was somewhat creamy and subtle, much like the base of the Marie Antoinette tea. The vanilla was the strongest flavor in my cup, with an undercurrent of berry (almost a strawberry flavor) and then rose. The result was a floral but fruity tea with some natural sweetness that helped to balance out the light herbal flavor of the base teas. Out of all the samples I tried, Pour Maman is definitely one I can see myself drinking on a frequent basis. It's divine! 

--

Currently, Nina's Paris is offering their tea products to North America via Amazon.com. A full list of their tea blends can be viewed on their official website.

From Marie Antoinette's Garden: Delphinette

 

image: Delphinette

credit: Danny Steven S. 

The gardens of Marie Antoinette's Petit Trianon were legendary for extraordinary beauty. Marie Antoinette adored flowers and her love for them is most apparent in the magnificent gardens she had cultivated in her name at Versailles and the Petit Trianon. The upcoming horticultural album, From Marie Antoinette's Garden, takes readers on a literary stroll through the most prominent of the flowers and plants found in the gardens of the queen.

One of the flowers that found its place in the world of Marie Antoinette was Delphinium ajacis (or Consolida ajacis). Delphinium ajacis is a native European flower commonly known in English as rocket larkspur. In 18th century France, it was known by charming names such as Delphinette, Pied d'Alouette, Eperon de Chevalier and Consoude royale, among others. Delphinette, the term typically used in France, for was originally derived from the Latin term for dolphin (delphin) which was a reference to the unique shape of the flower's buds.

 

credit: Eureka Sophie

Red, pink, white and blue variations were the most commonly cultivated colors in the 18th century; blue was highly favored for ornamental bouquets and gardens. Double-bloomed blue "delphinettes" were the most highly prized due to their color and unique appearance.

But Delphinette was not only used to beautify gardens and boudoirs. The plant, though toxic, was once believed to have curative properties. Distilled mixtures of Delphinette, made from its flowers boiled in rose water, were used as eye drops that were believed to treat conjunctivitis and inflammations. It was even used to treat kidney stones!

 image: Detail from a portrait of Marie Antoinette in court dress, circa 1778, by Elisabeth Vigée-Lebrun.
credit: (C) RMN-Grand Palais (Château de Versailles) / Gérard Blot

The flower was particularly favored by Marie Antoinette. It was specially planted in the French Garden, just to the west of Versailles. Delphinette is also featured in several of her portraits, including a formal court portrait by Vigée-Lebrun, where sprigs of the flower can be seen in a bouquet along with lilies, roses and narcissi.

 

image: blue rocket larkspur

credit: BotBin

The Delphinette, or rocket larkspur, is just one of the many flowers and plants to uncover in the upcoming publication, From Marie Antoinette's Garden by Elisabeth de Feydeu, set for publication on September 3rd, 2013.

Tea at Trianon: Marie Antoinette's Bath

via Tea at Trianon: 

Cleanliness was important to Marie-Antoinette and she insisted on bathing every day, clothed in a linen bathing dress.

Let Them Drink Pepsi

One of the more memorable advertisements to utilize Marie Antoinette's popular (though incorrect) image as the queen who said "Let them eat cake!" was a 1969 Coca-Cola ad which spun a clever twist on the legend. (I recently featured this advertisement in a post about the usage of Marie Antoinette in advertising--the full post can be viewed here.)

But did Marie Antoinette really say "Let them drink Coke?" Despite Coca-Cola's convincing history, this 1950s Pepsi-Cola Marie Antoinette inspired-advertisement begs to differ...

 

credit: FrenchFrouFrou on Etsy

I wonder how many retro drink advertisements used Marie Antoinette or a Marie Antoinette inspiration! "Let Them Sip Sprite," anyone?

Marie Antoinette (1938) on the Cutting Room Floor: The Dauphin's Debut

I was recently fortunate enough to purchase a shooting script from one of my favorite films, MGM's Marie Antoinette. One of the reasons I was eager to make the purchase was due to the cuts made to the film between its initial shooting and the "final product" that is currently available on home video. I absolutely love reading about lost footage, deleted scenes, dialogues or characters that were swept aside... and so far, the script has not been a disappointment!

With that in mind, today's post will be the first of several posts featuring some of the cut scenes and dialogue from Marie Antoinette (1938)!

Up first is the original debut scene of Louis-Auguste, the dauphin and future Louis XVI. This scene was originally placed before Marie Antoinette's arrival to the palace of Versailles--and just before another deleted scene with Madame du Barry, which will be saved for a later post!

Earlier, in some cut dialogue between Ambassador Mercy and Maria Theresa, the empress had already set up the audience for the strangeness of the young Louis-Auguste: "Mercy--this boy, this Louis--is he as strange as we have heard?" 

In this cut scene, we come to a shot of Louis-Auguste watching the celebrations in anticipation of Marie Antoinette's arrival from the window of his apartment. The screenplay describes him as appearing "sullen, shy" but with a "certain fundamental kindness and simplicity in his nature." He is watching the upcoming procession with a certain sense of "unpleasant mystery" about him, when Louis XV arrives in his apartments.

King.

Well, my dear grandson, the great day is here at last.

Louis (hesitantly)

 Yes, Sire.

King

Then you hadn't forgotten? Good! I am not unfamiliar with the abstractions of bridegrooms. If I remember correctly after forty years, I was myself taken with a charming melancholy from which I never fully recovered.

 (He looks at Louis quizzically)

Come, come, my dear boy; you must try to look more agreeably bored.

Louis

I'm sorry, Sire--It is not because of her at all. It is - as I have tried to tell you - but why must I be married?

King (imperturbably)
Because you share with France the misfortune of being heir to the throne.

Louis (impulsively)
I do not want to be King!

King

None of us choose these trifles. And you're not King yet. I beg you not to hurry me.

Louis

I did not mean--I shall do my duty, Sire.

The King gives him a quick glance of delicately disparaging appraisal.

King

Hm! That is all the best of women may expect at home. 

(cheerfully, to Louis) Come along, my boy. It is still customary for the groom to meet the bride. 

Does the loss of this scene have a significant impact on the film? Not particularly. I can easily see why it was cut from the final product. The only thing it really does for the story is cement the personalities of Louis XV and Louis-Auguste a bit earlier. I think the film benefits from the debut appearance of Louis-Auguste occurring when Marie Antoinette, grinning and eager to please in her new home, is almost shocked by the identity of her new husband. It is more of an awkward surprise for the audience when both the viewer and Marie Antoinette are treated to the first impression of Louis-Auguste, awkwardly making his way through a speech, at the same time. 

Much of the dialogue in the scene, such as "It's not because of her at all, it is, as I have tried to tell you--" and "I do not want to be king!" is reinforced only several minutes later in the scene between Louis-Auguste and Marie Antoinette on their wedding night. 

It's not the most interesting scene and I really don't lament the fact that it was left on the cutting room floor. But I do think it is neat to compare the shooting script, or how the film was originally conceived during filming, with the final product. 

The scene, which ends with Louis-Auguste awkwardly leaving with the king, was followed another cut scene that introduced the main 'antagonist' for the first half of the film: Madame du Barry. But that's a scene for another day!

Quick Treasure: An Afternoon at the Trianon

There's something special about vintage photographs of people, whether it's someone's personal family pictures or a photograph eventually used en masse for postcards like the image below. A simple photograph can bring about a thousand questions--most of them unanswerable and yet still fun to think about.

This particular postcard of the chateau at the Petit Trianon depicts a woman gazing at the fountains below, along with a smaller group of people walking in the background. Who is the woman in the foreground? Why was she visiting Versailles that day? Was she alone? Or did she come with friends? Did she visit for the history or just to go along with the recommendations of friends or family?

Perhaps she was visiting the palace with a few companions, but became bored of the gilded palace or her compatriots, and decided to stroll to the Petit Trianon on her own, looking for fresher air and peace of mind. Maybe the moment captured forever by this unknown photographer was a moment of quiet reflection at the end of a tiring afternoon filled with gossip or petty chatter.

Or maybe not. But it's always nice to imagine!

credit: my collection

Even More Jules Gervais-Courtellemont Autochromes of Life at Versailles

Earlier this summer, I posted a small collection of Jules Gervais-Courtellemont autochromes/autochrome prints of "life at Versailles," as portrayed by 1920s re-enactment players. Since then, I've been lucky enough to add to my small collection of prints made from Courtellemont's autochromes!

I can't get enough of the nostalgic, almost whimsical feeling they inspire. They are like romantic snapshots of a moment forever frozen in time... two companions taking a stroll through the gardens, a noblewoman making her entrance into the Hall of Mirrors--the queen herself,  lost in the tranquility of her hamlet.

  

Players at the Fountains of Versailles

credit: my collection

 

Players in the Hall of Mirrors

credit: my collection

 

Player at the hamlet of Marie Antoinette

credit: my collection

Marie and Toilette: Trivia about MGM's Marie Antoinette

 

credit: my collection

Opulent. Extravagant. Grand.  Just a few words that easily described the 1938 film Marie Antoinette, starring Norma Shearer as--who else?--the titular queen. But did you know that the production was once nicknamed "Marie and Toilette" by once of its supporting players? Or that the film's youngest actor was hired before he was even born? To find out more, dive into some delightful trivia about MGM's Marie Antoinette!

 

credit: Silent Hollywood

• The film, which is an adaptation of Stefan Zweig's biography, was in the planning stages as early as 1933. William Randolph Hearst campaigned for the film to be a starring vehicle for Marion Davies, but Norma Shearer was ultimately cast. 

• Over 11,000 photographs of Versailles were sent to the film's art department to help them design the production sets.

 

credit: [original images from IMDB!]

• Among the many actors considered for the role of Louis XVI were Charles Laughton, Emlyn Williams, Peter Lorre and Roger Livesey.

• Gary Cooper was in the running to play Axel Fersen, but Norma Shearer insisted on Tyrone Power for the part.

credit: ebay (defunct link) 

• Robert Morley, who was making his first foray onto the silver screen with the picture, was reportedly so annoyed with the process of filming that he nicknamed the production "Marie and Toilette."

• A special "Marie Antoinette" exhibition was held for the public at the Astor Theater in New York city to help promote the film. Among the 174 pieces on display were costumes, jewelry, props and furniture from the movie.

 

Image: A comparison between the gown worn by Marie Antoinette in the film and an Austrian portrait of a young Marie Antoinette.

credit: my screencapture & Gallica.BNF.FR

• Gilbert Adrian, the costume designer for the movie, visited France and Austria to research portraits of Marie Antoinette and other court figures as inspiration. Many of the film's gowns are directly or partially inspired by the elaborate court fashion worn for formal portraits.

• The combined weight of Norma Shearer's gowns in the film was over 1,700 lbs--her wedding dress alone was reporting as weighing a massive 108 lbs! The gowns were so heavy that specially made hangers had to be constructed to hold them.

• The idea of filming in technicolor was considered at some point during the film's production, but was not seriously considered and ultimiately was not taken. August 21, 2021 Note: A previous trivia point incorrectly suggested that the "confrontation gown" was light blue; based on additional research, I believe that the light blue confrontation gown as designed by Adrian and shown in concept art for the film was not used for the film. Instead, the film gown was almost certainly white, based on its reuse in Two Sisters from Boston, whose costume manifesto lists it as "white," and based on the replica gown made for a promotional marionette show which did not use a blue gown.
  

• Although W.S. Van Dyke had been handpicked by Louis B. Mayer to direct the film, his quick-paced directorial style was not free from criticism. Producer Hunt Stromberg's reports on the first cut of the scene in the gaming house, for example, read that it was "without any fine points," "badly timed,"and that closeups of Marie Antoinette and Fersen were "lacking." The scene was reshot with attention to Stromberg's notes.

 

image: Anita Louise as Marie Antoinette in Madame du Barry (1934)

credit: unknown source

• Anita Louise, who played the princesse de Lamballe in the film, played the role of Marie Antoinette just four years earlier in Madame du Barry (1934).

• The first cut of Marie Antoinette clocked in at 170 minutes. Preview cards from an early screening included praise such as: "One of the finest productions I have ever witnessed," and "The most beautiful production that has ever come out of Hollywood." After this preview screening, some scenes were reshot and ten minutes were cut from the film.

 credit: my screencap 

• The delicate bird cage hairpiece worn by Shearer during the garden party scene still survives. It was displayed in 2009 at an Irving Thalberg exhibition hosted by the Academy of Motion Picture Arts and Sciences. 

• It only took about 12 to 15 minutes to get into the elaborate gowns created for the film, thanks to modern zippers and fasteners.

 

image: The execution of Louis XVI, a scene which was cut or otherwise not used in the final film

credit: LIFE Magazine

• Before the film was released to the general theater-going public, it was cut down by 21 minutes. (Making it a total of about 30 minutes cut from the film's initial preview.) Stromberg was advised to shorten the film for general audiences due to the events in the second half, which made it "too heavy or tragic for popular consumption." 

• The gala premiere of the film at the Fox Carthay Circle Theater was an extravagant affair which featured a scale replica of the gardens of Versailles, complete with fountains, a 30 piece orchestra, antique statues and hundreds of flowers. 

 

image: Seamstresses working on embroidery and bead work for the costumes

credit: Adrian:Silver Screen to Custom Label by Gilbert Esquevin

• A team of seamstresses experienced with beadwork were hired specifically to hand-embroider the countless numbers of beads and other embroidered pieces needed for the film's extravagant costumes.

• The film received four Oscar nominations: Norma Shearer (Best Actress); Robert Morley (Best Supporting Actor); Cedric Gibbons (Best Art Direction); and Herbert Stothart (Best Music, Original Score)

 

credit: my screencapture

• The young baby who appears briefly in the film as the newborn Louis Charles was contracted for the part before he was born. The competition for the role was fierce--one mother-to-be even sent in her family's genealogy in the hopes of approving her chances!

• Antique furniture and decor, including an 18th or 19th century copy of a portrait of Louis XVI by Callet, were purchased or rented to help with the authenticity of the film's sets. An entire floor of MGM's prop building was dedicated to housing the valuable antiques when they were not being used. 

 

• Roughly 5,000 wigs were used in the film. Most of the wigs were made by hand and took approximately 48 hours of work to finish.

• The pair of earrings worn by Norma Shearer in the gaming house scene were purchased by Debbie Reynolds; they were later sold during the Debbie Reynolds Hollywood Auction for $4,000.

 

 credit: my screencap

• Norma Shearer had a slight cast in her right eye (camera left); during the prison scene between Marie Antoinette and Axel Fersen, her right eye can be seen to wander slightly. According to Performances Secrets of Norma Shearer (from the now defunct Divas: the Site) Shearer may have allowed her eye to cast in order to evoke Marie Antoinette's loneliness and mental deprivation during her captivity.

Quick Treasure: Madame du Barry by Sir William Russell Flint

Sir William Russell Flint (1880 - 1969) was a Scottish illustrator who is best known for his paintings, illustrations and drawings of beautiful women. His most popular works were inspired by a visit Flint took to Spain, where he was impressed by the beauty and skill of Spanish dancers. But Flint also dabbled in soft, romantic historical portraits--which, like his paintings of Spanish dancers, were sometimes derided by art critics as being 'harshly eroticized.'

This portrait, titled 'Ray as Madame Du Barry,' features a beautiful woman--perhaps a model favored by Flint?--dressed as the illustrious Madame du Barry, last mistress of Louis XV.

image: 'Ray as Madame du Barry' by Sir William Russell Flint.
credit: hauk sven on Flickr

Marie Antoinette and the Boredom-Busting Barbie Makeover

I was exceptionally bored (and exceptionally procrastinating--or maybe not so exceptionally) and decided to work on a quick photo-manipulation I posted on my Tumblr blog. I couldn't quite get Marie Antoinette's hair to that light shade of Barbie blonde, but such is Photoshop!

Barbie Travels to the 18th Century

 

image: detail of 'Barbie as Marie Antoinette'

credit: ioffer.com [defunct link] 

Perhaps no fictional woman has taken the fashion world by storm quite like Barbara Millicent Roberts--better known as Barbie. Since her introduction in 1959, Barbie has draped herself in every style you could possibly think of--and some styles no one has ever seen before! From snazzy 60s outfits (complete with gogo boots!) to glamorous, Vegas-style Bob Mackie fantasies to romantic Oscar de la Renta ballgowns... Barbie is no stranger to switching up her style at the drop of a miniature silk hat. You could say that her love of style makes her a fictional rival for the other Queen of Fashion--Marie Antoinette. Although Marie Antoinette (to my scholarly knowledge) never dressed up in go-go boots, she--like Barbie--also dressed to impress.

Barbie has had many careers, costumes and gimmicks over the years. She has even traveled back in time! One of Barbie's many stops is the 18th century, where she has donned the guise of an English aristocrat, a pastoral shepherdess--and even Queen Marie Antoinette herself. Let's stick a feather in Barbie's inch-high pouf and take a look at some of Barbie's forays into the Age of Enlightenment.

Madame du Barbie

 credit: ©Mattel

Madame du Barbie, designed by Bob Mackie, was a limited edition release which found its way into the gilded shelves of Barbie collectors on New Year's Day, 1997. "There are a lot of people at Versailles today," indeed! Madame du Barbie wears an ice-blue gown made from brocade, studded with beads and jewels and rococo-style embroidery. It reminds me of the large, stiffer 18th century costumes which were particularly popular in 1930s-40s Hollywood films. Elegant and sparkling! 

 

credit: shadowdoll on flickr

Her pouf is accented with an elegant beaded headdress as well as her large, striking collar covered in icy sequins. In true extravagant (though not historical) fashion, it reaches far above her heaven-ascending hair. A demure side glance completes her coquettish look. 

Madame du Barbie would certainly have made a splash at Versailles!

Fair Valentine Barbie

 

 credit: ©Mattel

Fair Valentine Barbie, a special edition released in 1998, is a lovely interpretation of a portrait by the famous Jacques-Louis David. The portrait, commissioned by its sitter, Mademoiselle Guimard, is a wonderful example of the romantic, pastoral fantasy paintings that were all the rage in 18th century France.

 

image: A portrait of Mademoiselle Guimard by Jacques-Louis David

 credit:  ©Christie's Auction House

Fair Valentine Barbie wears a pink and blue shepherdess-style dress with a delicate lace apron. Although the Barbie rendition of the painting is sadly missing a beribboned hat, her updo coiffure adorned with a pink flower completes her romantic garden gown. 

It is easy to imagine this doll sitting amongst bouquets of flowers or delicately milking a cow in a countryside dairy.

Duchess Emma

 

 credit: ©Mattel

Duchess Emma Barbie, released as a limited edition in 2003, was the third and final doll in the exclusive Portrait Collection series. Each doll in the series was inspired by various historical portraits, complete with packaging that resembled a stunning shadowbox frame. Duchess Emma Barbie is inspired by various 1770s-1780s portraits which featured softer lines, more pastel colors, and a more relaxed and natural look for the subjects.  

 

image: A portrait of Sophia Charlotte, Lady Sheffield by Thomas Gainsborough

The floor-length gown worn by Duchess Emma Barbie is made from a velvet jacket with green and blue trim over a powder blue stain skirt and bodice. A flowing white chiffon scarf, popularly used by artists such as Elisabeth Vigee-Lebrun, compliments her chiffon fichu and floral bodice accent. Her delicate coiffure, complete with ringlets, is topped with an elegant hat and fashionable feather.

Can you imagine this stunning portrait Barbie doll hanging on your wall?

 

credit: http://barbiecollectorpassion.blogspot.com

"Little Theater" Marie Antoinette

 

credit: my collection

In 1964, Mattel decided to treat Ken to some spotlight time with a proposed fashion line called Little Theatre, which was to feature matching costumes for Barbie and Ken. The above card depicts the Marie Antoinette and "Louis XIV" set. Both costumes featured delicate details, such as gold trim or fashionable ribbons, which made for a rather extravagant costume-fashion set! Unfortunately, the Little Theatre collection did not move past the prototype stage. Fortunately, an avid Ken fan was on hand to capture an image of the prototype costumes on display at the 2006 National Barbie Convention.

 

credit: The Man Behind the Doll

Marie Antoinette

 

 credit: ©Mattel

Extravagant, sumptuous--just two words that easily describe Mattel's crème de la crème of 18th century inspired Barbie dolls. I am speaking, of course, about the classic "Marie Antoinette" doll, released as part of the Women of Royalty series in 2003. The doll originally retailed for $249.00 but today it easily reaches prices of $600-$1000+ on the secondhand market. With the level of detail and the quality of this doll, it is not difficult to see why. 

 

image: A court portrait of Marie-Antoinette by Elisabeth Vigee-Lebrun

Marie Antoinette Barbie is inspired by a court portrait by Elisabeth Vigee-Lebrun.  Her sumptous, regal blue gown is adorned with delicate lace, golden trim and silk bows. These relatively simple adornments only enhance the beauty of the dress, which is complimented by a matching hat topped with white feathers. Her necklace is a shocking detail for many Marie Antoinette enthusiasts, who are quick to notice its provenance: it is a replica of the necklace from the infamous "Affair of the Necklace." I think it adds a certain touch of dangerous decadence to this Barbie's classic court elegance.

I cannot hope to do this doll justice with my descriptions... I'll end with some detailed shots (and oh, how I wish they were my own photographs!) of "the" Marie Antoinette Barbie.

 

credit: marsonico on Flickr

 

credit: marsonico on Flickr 

 

credit: marsonico on Flickr 

 

credit: marsonico on Flickr  

Which 18th century Barbie strikes your fancy the most?