LA PRINCESSE DE MONTPENSIER

France, 2010, 139 minutes, Colour.
Melanie Thierry, Lambert Wilson, Gaspard Ulliel, Gregoire Leprince- Ringuet.
Directed by Bertrand Tavernier.

Bertrand Tavernier has made fine films for almost four decades but not, so far, a period costume drama. Here it is.

The setting is the 1560s with the wars between Huguenots and Catholics in France, truces and battles, leading up to the massacre of St Bartholomew’s Day in 1572. (The background of the film, Queen Margot.) The first words of dialogue in this film are, ‘In the name of Christ, fire’, as a Huguenot soldier attacks a Catholic home. Disgusted by what he has done, he gives up fighting, outlawed by both sides for deserting them. He is Francois de Chabanne who, through his friendship with his former student, Philippe, becomes the tutor to his wife, Marie. This is an arranged marriage and the young woman has loved Henri, duke of Guise, all her life.

While there are battle scenes and sword fights (and Tavernier is no slouch in staging warfare), this is more of a serious drama of political intrigue, of pressures on women in the 16th century, on love and people trapped in marital contracts, of religious bigotry and cruelty. It is always intelligent and interesting.

Melanie Thierry is impressive as Marie who has to grow from being a carefree girl to a serious woman whom destiny has not been kind to. Lambert Wilson has a fine role as Chabanne, a wise man whose life is not as he planned but who is able to be a mentor to those in his care.

A good opportunity to learn some French history and enjoy the experience.

1. French history, audience knowledge, French, foreign audiences?

2. The 16th century and the reform in western Europe? The Huguenots and the Calvinist influence? Their religious reform, against Rome? The Catholic church and its counter-reformation? The political stances and princes taking sides, Conde and the Huguenots, the Guises and Catholicism? The role of the king? The queen mother from Italy? Wars, truces, bigotry and bitterness? Leading to the St Bartholomew’s Day Massacre in 1572?

3. The perspective of the film: facts, the war, the cruelty from each side against the other?

4. The staging of battles, the fierce fighting, hand-to-hand, deaths? Duels and sword-fighting? The atmosphere of the era? The musical score and its moods – and the classic touch?

5. The introduction to Francois de Chabannes? The ambush of the riders, the entry to the house, the slaughter, Chabannes killing the pregnant woman, her surprise, the effect on him – and his saying it was like St Paul on the road to Damascus but his eyes being opened? His decision to give up all violence? Riding with Nicholas, discovering the truce, and his being banished by both Catholics and Huguenots for deserting them?

6. His travelling alone, the bandits about to hang him? Philippe and the rescue? Philippe’s listening to Chabannes’ explanation of what happened, both sides? Going into service for Philippe, Philippe as his pupil of five years and Philippe’s admiration for him?

7. The world of Marie, her father bargaining her life away in an arranged marriage? Her friendship with Henri and Mayenne for so many years, with Catherine Guise? Playing together, Marie in love? Discovering the arrangement, her reaction to her father, her mother urging her to submit, the mother saying that love was not necessary in a marriage? The marriage ritual, the ritual of the wedding night and the elaborate preparations, clothing, the blood, the fathers and their playing chess?

8. The importance of families in France in the 16th century, the bargaining, for land, money? Cardinal Guise and his threats to Philippe’s father? Philippe’s mother, her illness, going to Paris, dying? His father deciding to marry Catherine Guise?

9. Philippe in himself, a seemingly upright man, soldier, learning so much from Chabannes? Not knowing Marie, not understanding love? Issuing commands, her obeying orders?

10. Marie and her personality, a strong young woman? Philippe leaving for the wars, Chabannes as her tutor, becoming her mentor? Discussion of birds, stars, writing, poetry, the nature of faith, the quote from St John Chrysostum and the letter to the Hebrews? Her inquiring mind? About sin, temptation and whether one was the same as the other?

11. Philippe and his return, the possibilities of love for his wife, Henri’s arrival, the Duke of Anjou and seeing them together? Philippe and his anger, the duel?

12. The Duke of Anjou, a warrior, in battle, successful? Learning Polish, the plan for him to become king of Poland? His observing intrigue? His flattering Marie? The king and his brother, Catherine de Medici his mother?

13. Philippe’s dilemmas, about Henri, his anger with Marie, shouting abuse at her? Demanding that she go to court? The queen mother, her family around her, a dominant woman, the Italian background, her superstition and the stars? Her meeting Marie? Marie and the dance, the ball, Henri and his mask, her encounter with him on the stairwell, her making the appointment, the irony of her speaking to Anjou? Philippe and his being humiliated?

14. The character of Chabannes in himself, his age, a wise man, a good teacher, in the company of Marie, his methods of instructing her, his love for her? His ultimately helping Guise? His decision to leave, at the inn, writing the letter to Marie, the massacre of St Bartholomew’s Day, defending the woman under attack, his being killed?

15. Marie and her riding back home, the return, Philippe and his hard riding, bringing the letter, memorising it? The encounter with Marie, his ultimatum?

16. Henri, the possibility of marrying the king’s sister, his forgoing it, his alleged love for Marie, from the past? Chabannes’ letter warning against him and his fickleness? Marie finding him, confronting him, his new plan for marriage?

17. Marie going to Chabannes’ grave, her reverence for him, going into an uncertain future?

18. The background of the 16th century in terms of religion, politics, wars, the place of men, women and their being confined – and men not able to understand this? The Princess of Montpensier being a figure for the modern era?