The Soundtracks of Our Lives #6: Marie Antoinette, The Rhythm of Rebellion
The role of soundtracks in historical movies has evolved significantly over the years, from the early days of silent films to the modern era of synchronized sound and immersive sound design. The music and soundscapes accompanying historical narratives play a crucial role in enhancing emotional impact, capturing authenticity and creating immersive experiences for audiences. Yet the most difficult challenge is to represent the past with an ultra-modern musical backdrop. And that was precisely the challenge that Sofia Coppola successfully undertook with her Marie Antoinette.
A plunge into the past with the sound of the future. And with a refined touch of elegance and style. Perhaps that would be the best description for Sofia Coppola's irreverent film. But there is more. Historical reinterpretation is never easy, and even less so if you choose to give it a twist and turn. And the twist was represented by a wise choice of music, incorporating the old and the new.
Indeed, on the one hand there are many classical compositions, the result of a choice made in collaboration with the composer Roger Neill, who wisely chose pieces of baroque music of that time: Jean-Philippe Rameau, François Couperin, Domenico Scarlatti and Antonio Vivaldi. On the other, the consultation with Roman Coppola, the director's brother, initiated a very witty choice: an eclectic mix of 1980s new wave, post-punk, and electronic tracks.
The scene opening the movie showcases the young Marie Antoinette's arrival in France. No choice could have been more apt in this case than the Siouxsie & The Banshees song “Hong Kong Garden”, a goth new wave ballad that immediately immerses us in the dreamy and somewhat transgressive atmosphere of the film.
The song's haunting melody and the visuals of a fish-out-of-water scenario effectively convey the stark contrast between her Austrian upbringing and the opulent French court. Plus, the juxtaposition of the 1970s post-punk sound with the Baroque elegance of Versailles creates an immediate sense of disconnection, framing Marie's foreign status and hinting at her future isolation.
It almost seems as if in Marie Antoinette the soundtrack slavishly follows the protagonist's emotions and moods, and accompanies her reactions in the background, amplifying them. In this regard, a memorable musical moment is the inclusion of "Fools Rush In" by Bow Wow Wow during a poignant and emotional scene.
The melancholic lyrics of the song – "When we met / I felt my life begin / So open up your heart and let / This fool rush in / Fools rush in / Where wise men never go / But wise men never fall in love / So how are they to know?" – underscore the vulnerability and loneliness felt by Marie Antoinette, at the same time emphasizing the youthful exuberance and rebellious spirit of the French aristocracy.
The scene is a visual feast of colors, costumes, and movement, perfectly encapsulating the decadence and carefree attitude of the era. as the empress grapples with her isolation and the pressures of her royal duties, adding depth and complexity to her character. And it is certainly with the same intentions that another Bow Wow Wow piece was used later in the film.
In fact, "I Want Candy" is played in the film's most iconic scene where the Queen and her friends indulge in a wild shopping spree, showcasing their excessive lifestyle and detachment from the impending revolution. As Marie begins to cultivate her identity away from the constraints of her royal duties, this moment reveals Marie's desire for freedom and self-expression, underlined by the dreamy soundscapes of the song.
One of the film's most visually striking scenes is the grand and decadent party hosted by Marie, where the ethereal music of The Strokes' "What Ever Happened?" channels the carefree spirit of youth. The song contrasts the grandeur of the event with the underlying tension of the political situation in France, symbolizing the fleeting nature of pleasure and the isolation that accompanies it.
The exuberance of the party is palpable, and the contemporary soundtrack successfully captures the joy of the moment while foreshadowing the revolution that is brewing. So, for other moments of festivity and celebration of courtly luxury, ad hoc pieces were chosen, such as "Natural's Not In It" by Gang of Four, played during a montage of Marie Antoinette's preparations and the lavish lifestyle at Versailles.
The choice of song for the wedding between the sovereign and King Louis XVI (a momentous event that was more a political alliance than a romantic union) fell on the beautiful "Ceremony" by New Order, while for moments of solitude the composition "Concerto for Cembalo" by Antonio Vivaldi appears several times in the film: the classical piece is used sparingly but effectively, particularly in scenes where the Queen seeks refuge in the beauty and order of art and music amidst the chaos of the court.
We also have moments where experimental electronic music is used, but the choice fell on dreamy compositions and landscape sounds; two pieces by Aphex Twin appear in the film, "Jynweythek Ylow" and the atmospheric piano piece "Avril 14th", as well as song by Squarepusher, "Tommib Help Buss". For the film's closing and final credits there could not have been a more apt choice than The Cure, and two of their most intense songs, "Plainsong" and "All Cats Are Grey".
In key scenes of Marie Antoinette, music serves as a powerful narrative tool, providing insight into the characters' emotions and motivations. The use of different genres and styles of music not only sets the tone for each scene but also helps to deepen the audience's connection with the characters. Whether it's the punk rock energy of a party scene or the melancholic melodies during moments of introspection, the soundtrack adds layers of complexity to the characters' development.
The innovative approach to music in Marie Antoinette has left a lasting impact on the world of filmmaking and soundtrack production. Here the soundtrack becomes a character, shaping the emotions and atmosphere of the movie scenes. The same kind of depth and accuracy is found in director Todd Haynes' masterpiece and glam music triumph Velvet Goldmine, which we will feature in the next episode.
How do modern soundtracks enhance the viewing experience of historical movies like Marie Antoinette? Are there any challenges in blending modern music with historical narratives in films? What role do music producers play in creating soundtracks for historical movies? How has the music of Marie Antoinette influenced the way soundtracks are approached in other films? And what are some future trends in soundtrack composition for historical films that we can expect to see?
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