Tag Archives: Matthias Schoenaerts

A Little Chaos

Paris, 1682: King Louis XIV wants the gardens of Versailles to equal the beauty and grandeur of his 700-room, 2000-window, 1250-fireplace, 67-staircases palace.

0626littlechaos1-master1050In the film, his master gardener Andre feels the task is too immense (and the King’s ambition too grand, too exact) and he hires help to get it all done. His choice for the architect of an elegant outdoor ballroom stuns all the applicants: it’s a woman, not very well known, not a member of court, Sabine.

Now, if you know me at all, you know all you had to say was Versailles. I would probably get all beheady if my hard-earned tax dollars funded the place, but it’s obscenely, richly, decadently wondrous to look at. But here’s the thing: this is a movie that just keeps on giving. If you aren’t immediately convinced by the setting, here are three names to make you fall down in a faint: Kate Winslet, Stanley Tucci, Alan Rickman.

Alan Rickman, who also directs, gets to wear the crown as King Louis. Tucci gets to play a mere 624duke, but poor Winslet is the one wrecking her nails playing in the dirt. Kate Winslet, as you well know, is born to play such a role. She’s a period piece angel, a garden fairy, her creamy skin made for corsets, her wavy hair’s blonde highlights catching the sun’s warm rays, making her glow, making her attract the attention of the handsome and ill-married master gardener (Matthias Schoenaerts).

Sabine’s character is of course fictitious; women wouldn’t have been allowed to hold “jobs” at that time, even if they were widowed and otherwise poor, as Sabine. But Rickman’s insertion of her into a known piece of history really mixes things up and brings a level of enchantment to the a-little-chaos-film-201-009piece. The gardens are beautiful, but they’re just the setting for a lot of familiar human emotion: love, betrayal, grief, triumph.

A Little Chaos is held up by fabulous performances by a very talented cast. It’s not quite passionate enough as a romance and is completely anachronistic as a historical drama. Nary a poor french peasant is glimpsed. But if you’re willing to let that go, I bet you’re going pulled into this fantasy as I was.