Maria Antonieta

Made directly after Irving Thalberg's death but arranged by him beforehand this was Norma's final solo showcase. A mixture of the loss of her behind the scenes champion, poor script judgment and her vanity which caused her to turn down possible career savers Mrs. Miniver and Old Acquaintance lead to her days as a top star coming to an end. She still had a few decent pictures in her future, most notably The Women, but this is the last of her big star vehicles and her final big success as the main star of a film.

But this is certainly a grand way to end her time at the top. Norma does well in the lead her occasional lapses into grandiosity are well suited to a queen and don't get in the way of her characterization like they often did in several of her other films and her smaller moments are well played. Although this really should have been in color, the sets, wigs and costumes are almost impossibly lavish and are dazzling even in B&W. It's an enjoyable if questionably accurate historical account of Marie's rise and fall.

Aside from Shearer Robert Morley gives a gem of a performance as the not terribly bright Louis XVI, never making him seem a simpleton just a gentle man unequal to the role thrust upon him by birth. There are a few other good performances from Gladys George as the cheap but flashily dressed Madame du Barry and Joseph Schildkraut as the queen's venal cousin. Tyrone Power is impossibly handsome but his part is really window dressing so he doesn't make much of an impression.

Fine through they all are the film would be nothing without Norma. The title role requires someone whose well seasoned star power couldn't be overpowered by the sumptuous trappings and this is Norma's show straight down the line. Perhaps the one she was most suited to it's certainly one of her strongest performances. The film itself is a trifle overlong but for those who stick with it worthwhile entertainment.

Here at The Rag, we've learned our lesson: No matter what, give a movie a chance. Just give a movie ten minutes, and if you still hate it as much as you thought you would, feel free to turn it off. If the movie stars an actress you despise, contains a supporting cast you don't normally like, and centers on a subject of which you have no interest, you just might find yourself riveted and impressed. What movie made us learn our lesson? Marie Antoinette, starring Norma Shearer, someone whose movies we'd previously avoided.

The first fifteen minutes of this movie are incredible. Adrian's costumes belong in a museum, as gown after gown after gown are breathtaking, and surprisingly did not bring home an Oscar for the remarkable designer. The Academy Awards didn't have an Oscar for costume design until 1948, which, when you think of all the incredible costumes present in the 1930s and 1940s, is shocking. The art direction, while awarded with a nomination, was passed over in favor of The Adventures of Robin Hood. The incredible sets laden with paintings, chandeliers, rugs, beautiful dishes, jewels, ballroom decorations, draperies, bedroom pieces, and other furniture, was passed over for a forest. When you watch this movie, you'll realize how silly that is. Another silliness is the lack of nominations for Best Picture and Best Director for W.S. Van Dyke. This is a large-scale, expensive, lush epic, and it's ridiculous to look back at Frank Capra's wins for You Can't Take It With You when Marie Antoinette wasn't even nominated.

This heavy epic chronicles Marie's time from age fourteen until her death. Norma Shearer is given an enormous amount to do, and she does it very well. She has to be giddy and young, excited for her marriage, disappointed, afraid, frivolous, betrayed, in love, a mother, and finally, destroyed. As a young girl, she gets betrothed to the soon-to-be King of France, and her wedding night with Robert Morley is an especially emotional scene. They both give excellent performances, and since I normally can't stand either, it's quite a compliment from me. Robert is simple and an introvert who doesn't want to expose himself to potential ridicule, and Norma just wants to be a good wife. When she realizes her marriage will be different than promised, she turns to material pleasures and surface relationships to make her happy.

With a supporting cast of Joseph Schildkraut as an enormously slimy villain, Gladys George as the famous du Barry, John Barrymore as an ailing king, Tyrone Power as the pretty but poorly acted love interest, and Henry Stephenson as a sympathetic ear, there are plenty of varied scenes in this long movie to keep you interested. As one of the earliest films to have an intermission, overture, and entr'acte, this takes a bit of the epic factor out of the following year's Gone With the Wind, which boasted of being the grandest epic of all time. Marie Antoinette is one of the great classics that is dramatic without being grotesque and manages to win you over even if you don't expect to be. Well done, Norma.

This film boasts a number of wonderful performances and is a great example of film acting in the thirties and the power of the studios. Robert Morley steals the show as Louis XVI, but equally fine are John Barrymore as the dying Louis XV, Gladys George as Madame du Barry, Joseph Schildkraut as the Duke of Orleans and a whole slew of wonderful character actors who enlivened even the smallest role. Norma Shearer admirably tackles the nearly impossible task of portraying the life of Marie Antoinette from a young girl to a broken woman on her way to the guillotine. In the style of the time, the film has a tendency toward histrionics but for the viewer with patience the overall effect is fascinating. Of special interest to students of art direction. The sets and costumes are incredible.

As a young actress still in her 20s, Norma Shearer was hailed as the First Lady of MGM, and she reigned as queen of the studio throughout the 1930s. For about two decades after early retiring in 1942, she was fondly remembered by fans and critics, but slowly she was mostly forgotten. Then in the early 70s, antagonistic film critic Pauline Kael, grudge-holding MGM rival Joan Crawford and others took delight in trashing her, usually with the implication that Norma's greatest talent was finding a powerful husband (Irving Thalberg). Unfortunately, those unfair remarks carried great weight since Shearer's movies were unavailable on video and rarely shown on TV.

We're now able to see her talent for ourselves, thanks largely to Turner Classic Movies, and Norma Shearer's star is rising again.

If you've never seen a Shearer movie, Marie Antoinette is a good beginning. It is one of Hollywood's great epics of the 1930s, with lavish costumes and scenery, and its historic setting holds up well. Shearer plays the doomed French queen from teenager to the Guillotine, and the final scenes as she awaits death in prison are among the finest of her career.

In recent years, Shearer has gained new respect for her silent and pre-code films, in which she was one of the most accomplished young actresses of the era. She often played sexually sophisticated women with a sly wit. She was not a typical ingénue, and you can see why audiences of the time were enchanted by her.

This is a fantastic movie, a real emotional roller coaster, one feels emotionally exhausted at the end, the last 20mins are truly harrowing. How Norma Shearer didn't win the academy award for best actress is beyond me. Other great performances include the debut of Robert Morley and the incredible acting of Joseph Schildkraut, the makeup he wears must have been truely scandalous at the time. The costumes are spectacular you really are taken back to the late 1770's. another point of note is how Norma Shearer ages in the film is incredible, from the young girl in the beginning to the much older broken woman at the end, very well done indeed. Tyrone Power is very good as well, one can go on for ages about Marie Antoinette, it truly is a spectacle in the grand MGM scale. 8 1/2 out of 10!