10 Reasons Why You Should Watch ‘Le Roi danse’ (and if you already have, you should watch it again!)
Film synopsis from Wikipedia: The film, presenting libertine and pagan Lully as a natural ally of the early Enlightenment figure Louis XIV of France in his conflicts with the Catholic establishment, focuses on Lully’s personal and possibly romantic relationship with the King, as well as his camaraderie with Molière and rivalry with Robert Cambert.
1) It’s a superb movie. It’s cinematically intriguing and breathtaking. There are some intriguing themes about love and loyalty, as well as deity, religion and the Enlightenment. Also the visuals are to die for (gif source):
2) Just the ballet scenes in general. The dancing is so on point and fascinating! Not to mention there’s a lot going on with Louis and ballet, how it’s for his glory, but how he argues he’s using it to ease poltiical tensions. Plus, it’s King Louis XIV doing ballet (gif source):
3) The acting is so on point, SO much talent. Benoît Magimel’s portrayal of Louis’s transition from artistic rebel to, after his mother’s death, grim stoic is astounding. There’s also Tchéky Karyo as a charming, sympathetic, and very human Molière. His performance is somehow poignant in how natural it is. My personal favorite was Boris Terral’s performance as Lully, though. You can just tell he lived and breathed that role (He also looks like how I imagine Camille Desmoulins on a good day). (gif source):
4) The costumes are amazing. You also get to see many of Louis’s ballet costumes in stunning historical accuracy:
5) The relationships between the characters are compelling. The combative relationship between Louis and his mother, between Madeleine Lambert (Lully’s wife) and the composer Cambert, between opera singer Julie (who is Madeleine’s neice!) and Lully…and many more. My personal favorites, however, are Lully and Molière’s friendship, and the complex relationship between Lully and the King. So much so that they earn their own bullet points.
6) Lully and Molière’s friendship is great. Yes it goes sour, which is very dramatic in of itself, but their friendship is quite charming. There’s even scene where they basically (jokingly?) get married:
7) There’s also Lully’s feelings toward King Louis, which are a huge driving force for the movie. It’s not even subtext that Lully has romantic feelings for him. It’s shown outright when Lully leaves his wife in labor to go to the King’s rescue. It’s stated outright when Lully declares that he loves only the King.
8) Which brings me to this film’s treatment of sexuality. A treatment that, actually, is fairly historically accurate. Lully sleeps with women, but also participates in the ‘Italian manners’ aka same-sex sexuality between men. He even refers to a particular marquis’s page as ‘lovely as a girl, better than a girl’.
Some admonish Lully for his proclivities.
Others don’t mind. And others completely accept it. His wife is well aware of it, and doesn’t condemn him for it. There are spaces where Lully can entertain these passions, and others where he can’t. This is quite in line with history at the time. And although historically it was infrequently invoked, the capital punishment for sodomy is referenced:
So basically lots of bonus points for that. Although, we don’t get to see Louis’s brother Philippe, who historically had a vast preference for men and was connected with many men of the court who has similar preferences. Lully and Philippe knew each other in real life, so it would’ve been nice to see that interaction in the movie.
9) Which brings us to the skillful blending of fact and fiction. Molière’s death, as portrayed in the film, really did happen. Lully really was admonished for his same-sex activities. Lully really was that cutthroat about his relationship with the King. However, like movies such as Amadeus, there is a blending of fact and fiction. Gaps are filled in, in manners that can be debated as to their historical accuracy. Nonetheless it’s a skillful blend that maintains an amount of historical accuracy but also cinematic drama.
10) It’s easyto watch, since it’s on Youtube. The movie is in French, and there are English subtitles.
Louise de La Vallière (Françoise Louise de La Baume Le Blanc; 6 August 1644 – 7 June 1710) was a mistress of Louis XIV of France from 1661 to 1667. She later became the Duchess of La Vallière and Duchess of Vaujours in her own right. Unlike her rival, Madame de Montespan, she has no surviving descendants. Louise was also very religious and she led a religious penance for herself near the end of her life.
Louise de La Vallière was born in Tours, the daughter of an officer, Laurent de La Baume Le Blanc (who took the name of La Vallière from a small estate near Amboise) and Françoise Le Provost. Laurent de La Vallière died in 1651; his widow remarried in 1655, to Jacques de Courtarvel, marquis de Saint-Rémy, and joined the court of Gaston, Duke of Orléans, at Blois.
Louise was brought up with the younger princesses (the future Grand Duchess of Tuscany, Duchess of Alençon, and Duchess of Savoy), the half-sisters of La Grande Mademoiselle. After the death of Gaston, Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them.
Through the influence of a distant kinswoman, Mme de Choisy, Louise was named Maid of honour to Princess Henrietta Anne of England, sister of King Charles II of England, who was about her own age and had just married Philippe I, Duke of Orléans, the King’s brother. Henrietta (known as Madame) was extremely attractive and joined the court at Fontainebleau in 1661. Her friendly relationship with King Louis XIV, her brother-in-law, caused some scandal and fed rumors of a romantic affair.
To counter these rumors, the King and Madame decided that Louis should pay court elsewhere as a front, andMadame selected three young ladies to “set in his path”, Louise among them. The Abbé de Choise reported that the seventeen-year-old girl “had an exquisite complexion, blond hair, blue eyes, a sweet smile … [and] an expression [at] once tender and modest." One of her legs was shorter than the other, so Louise wore specially made heels.
Louise had been at Fontainebleau only two months before becoming the king’s mistress. Although she was intended to divert attention from the dangerous flirtation between Louis and his sister-in-law, Louise and Louis soon fell in love. It was Louise’s first serious attachment and she was reportedly an innocent, religious-minded girl who initially brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation; she wanted only the King’s love. Antonia Fraser writes that she was a "secret lover not a Maîtresse-en-titre like Barbara Villiers.”
Nicolas Fouquet’s curiosity in the matter was one of the causes of his disgrace, for, when he bribed Louise, the King mistakenly thought that Fouquet was attempting to take her as a lover.
In February 1662, the couple fell into conflict. Despite being directly questioned by the King, Louise refused to tell her lover about the affair between Henrietta and the comte de Guiche. Coinciding with this, Jacques-Benigne Bossuet delivered a series of Lenten sermons in which he condemned the immoral activities of the King through the example of King David’s adultery—and the pious girl’s conscience was troubled. She fled to the convent at Chaillot. Louis followed her there and convinced her to return to court. Her enemies—chief among them, Olympe Mancini, comtesse de Soissons, niece of Cardinal Mazarin—sought to orchestrate her downfall by bringing her liaison to the ears of Louis’s queen, Maria Theresa of Spain.
During her first pregnancy, Louise was removed from the Princess’ service and established in a lodging in the Palais Royal, where, on 19 December 1663, she gave birth to a son, Charles, who was taken immediately to Saint-Leu and given to two faithful servants of Jean-Baptiste Colbert. Despite the secrecy of the transfer, organised by a doctor Boucher who was present at the birth, the story quickly spread to Paris. The public scorn at a midnight mass on 24 December resulted in a distraught Louise escaping home from the church.
Concealment was practically abandoned after her return to court, and within a week of Anne of Austria’s death on 20 January 1666, La Vallière appeared at Mass beside Maria Theresa. Ashamed of her conduct, she treated the queen with humility and respect. In return, the queen was reportedly venomous towards her during the five-year affair, continuing even after the affair really ended—unaware that the king had taken another mistress.
After five years, Louise’s favour was waning. On 7 January 1665 she had given birth to a second son, Philippe, and on 27 December of that year she gave birth a third son, Louis;but the three children soon died, Charles on 15 July 1665, Philippe before the autumn of 1666 and Louis shortly after. A daughter was born at Vincennes on 2 October 1666. In May 1667, by letters patent confirmed by the Parlement de Paris, Louis XIV legitimised his daughter, who was named Marie Anne de Bourbon and was given the title of Mademoiselle de Blois. Louis XIV also made Louise a duchess and gave her the estate of Vaujours. As a duchess, Louise had the right to sit on a tabouret in the presence of the queen, which was a highly prized privilege. However, Louise was not impressed. She said her title seemed a kind of retirement present given to a servant who was retiring. Indeed she was correct, for Louis commented that legitimising their daughter and giving Louise an establishment “matched the affection he had had for her for six years”: in other words, an extravagant farewell present.
On 2 October of that year, she gave birth to their fifth child, a son named Louis, but by this time her place in the King’s affections had been usurped by Françoise-Athénaïs, marquise de Montespan, whom both she and the queen (both pregnant when the affair began) had thought of as a trusted friend. Under the pretense of her pregnancy, Louise was sent away to Versailles while the King and the court were at the scene of the war; however, she disobeyed the King’s orders and returned, throwing herself at his feet sobbing uncontrollably. In a strange twist of fate, she ended her relationship with the King in the same way in which she started: used initially as a decoy for Louis and “Madame”, Louise now became a decoy for her own successor, as Louis made her share the Marquise de Montespan’s apartments at the Tuileries to prevent the legal manœuvres of the Marquis de Montespan (who wanted to get his wife back) and to keep the court from gossiping.
Mme de Montespan demanded that Louise assist her with her toilette, and Louise did so without complaint. Whenever the king wished to travel with his real mistress, Athénaïs, he made both Louise and Athénaïs sit in the same carriage with the queen. Since Athénaïs was married, it meant that both the king and she were committing adultery, a mortal sin. Louise had refused a smokescreen marriage for this very reason. (In cases where one partner is unmarried, canon law of the Roman Catholic Church considered a carnal affair to be simply fornication.)
Mlle de La Vallière was the godmother of Athénaïs’ and Louis XIV’s first daughter, who was given the first name Louise. Louise hated being the decoy for Athénaïs and begged and wept often to be allowed to join a convent. She took to wearing a hair shirt, and the strain of being forced to live with her former lover and his current mistress caused her to lose weight and become increasingly haggard.
She attempted to leave in 1671, fleeing to the convent of Ste Marie de Chaillot, only to be compelled (once more by order of the King) to return. In 1674, she was finally permitted to enter the Carmelite convent in the Faubourg Saint-Jacques in Paris under the name of Sister Louise of Mercy.
When Louise left the Court, the new Duchess of Orléans (born Elizabeth Charlotte of the Palatinate) took care of the education of her only surviving son, Louis. He later was involved in a scandal with his uncle Philippe de France and Philippe’s favourite, the Chevalier de Lorraine, and died in 1683 while in exile in Flandres.His loving sister and aunt were greatly affected by his death, while his father did not shed a tear. His mother, still obsessed with the sin of her relationship with the king, said upon hearing of her son’s death:
I ought to weep for his birth far more than [for] his death.
Madame de Maintenon asked Louise if she had fully considered the discomforts that awaited her at the Carmelite convent which ended up including being forbidden to wear the shoes that allowed her to walk without a limp. “When I shall be suffering at the convent”, Louise replied, “I shall only have to remember what they made me suffer here, and all the pain shall seem light to me.” The day she left, she threw herself at the feet of the Queen, begging forgiveness: “My crimes were public, my repentance must be public, too.”
She took the final vows a year later, accepting the black veil from the queen herself, who kissed and blessed her. The queen already had a habit of spending brief sojourns at the convent for spiritual consolation and repose. Interestingly, later in life, Mme de Montespan went to Louise for advice on living a pious life. Louise forgave her, and counselled her on the mysteries of divine grace. She died in 1710. The Duchy of La Vallière went to her daughter Marie Anne as did the fortune she had acquired during her life as Louis’s mistress.
La Vallière’s Réflexions sur la miséricorde de Dieu, written after her retreat, were printed by Lequeux in 1767, and in 1860 Réflexions, lettres et sermons, by M. P. Clement (2 vols.). Some apocryphal Mémoires appeared in 1829, and the Lettres de Mme la Duchesse de la Vallière (1767) are a corrupt version of her correspondence with the Maréchal de Bellefonds.
Louise Françoise de Bourbon, Légitimée de France(1 June 1673 – 16 June 1743) was the eldest surviving legitimised daughter of Louis XIV of France and his maîtresse-en-titre, Madame de Montespan. She was said to have been named after her godmother,Louise de La Vallière, the woman that her mother had replaced as the king’s mistress. Prior to her marriage, she was known at court as Mademoiselle de Nantes.
Married at the age of eleven, she became known as Madame la Duchesse, a style which she kept as a widow. She was, Duchess of Bourbon and Princess of Condé by marriage. She was later a leading member of the cabale de Meudon, a group of people who centered on Louis, le Grand Dauphin her older half brother. Whilst her son, Louis Henri, Duke of Bourbon was Prime Minister of France she tried to further her political influence but to little avail.
Very attractive, she had a turbulent love life and was frequently part of scandal during the reign of her father Louis XIV. Later in life, she built the Palais Bourbon in Paris, the present seat of the National Assembly of France, with the fortune she amassed having invested greatly in the Système de Law.