Highly Overrated But Still Good

Pretty good movie overall. First half was nothing special but it got better as it went along.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The setting of the movie is appropriately 18th century, the way the characters act so too. They even seem to speak (mostly) like it too: sometimes they construct long, florid sentences, and sometimes the king takes his wig off and talks about money.It is not a glitzy romance, because the romance is suitably subtle (it thus also reflects the period). The romance is conducted, until near the end, almost entirely in subtext. Is it a perfect picture of 18 century France? Probably not, but, like the Gardens of Versailles, which are the true main character of this thoughtful drama, they have enough rough edges to feel real.

A rare gem in the world of contemporary movies, this story has sympathetic characters. I thought they all but disappeared from the screen. It is purely fictional, but I like to believe it could have happened. Schoenaerts plays Andre Le Notre, the real landscape architect who designed the park of Versailles for King Louis XIV. Andre is interviewing other landscape gardeners to help him with the job, among them the only woman, fictional Sabine De Barra (Winslet).They don't meet so cute, but Le Notre is intrigued and Sabine is hired. In the society of the time, Sabine is a bit of a low class oddity who manages to make friends in high places. Admitted to court, she attracts attention and curiosity for her beauty and skills, but she also attract Le Notre's wife jealousy.Le Notre is unhappily married with his unfaithful Madame, but Madame is well connected at court and sort of blackmails him into staying with her. However, that will not stop the slowly burning romance between Andre and Sabine. Sabine holds back not only because Andre is married but also because of her mysterious tragic past.We finally get to know Sabine's sad history during one of the most moving scenes of the film. Sabine talks to the court ladies and discovers that they also share tragic losses, although at court it is forbidden to talk about death. Once able to face her past, Sabine can finally move into her future.Winslet is really good as Sabine and Schoenaerts seems particularly gifted for the role of the strong, silent, lover. He had similar roles in The Danish Girl and Suite Francaise and was equally good. Their scenes together are moving and tender, without any of the artificial slickness or aggressiveness of contemporary romances.Rickman playing Louis XIV as a rather melancholic man who takes a fatherly fancy to Sabine. The music is not overbearing period and the costumes are absolutely fantastic. The final scene looks like is taking place in the real, still existing, rock ballroom. Great movie, a balm for the soul.

This is often passed over in silence but many workers died during those titanic (no pun intended) works:sometimes crushed under blocks ,they had to drain the swamps:a suicide because of the mosquitoes who transmitted marsh fever ,in other words,Paludism:men fell like flies.Saint-Simon talks about wagons of corpses ;they forced the workers into this living hell ,they had to live on the spot and were not allowed to see their wives and kids anymore ;some of them rebelled and threw blocks onto the foremen from the scaffolds ;the king called on the army.Many men were sentenced to death and hanged .Les Jardins Du Roy,it's a paradise (as depicted by the Sun King himself in the movie),but it's also that.Let's be lenient for the historical mistakes :Le Nôtre was 25 older than Louis XIV -and was not the vivacious handsome landscape gardener who woos Madame De Barra .He would not begin,in the kingdom of France , his letter with the word 'dear"!!Madame De Barra is pure fiction :one cannot imagine,at the time ,a female landscape architect -think that a hundred years later ,mathematician Sophie Germain had to take a male pseudonym to be able to continue her work on prime numbers- is thoroughly implausible ;it takes all Mrs Winslet's talent to make the character endearing.On the plus side ,in spite of an obvious lack of means (we are in the grandiose court of the Sun King,all the same!) ,there's an interesting depiction of the atmosphere of the courtiers;It's the first time I've seen a portrayal of Philippe D'Orleans ,Monsieur Frère Du Roi ,in accordance with historian Philippe Erlanger's book,which was not so in previous "Vatel" ,let alone the "Angélique Marquise Des Anges" saga : he is gay but his second wife ,La Princesse Palatine depicts him as " a brave man at war ,generous with the defeated ";actually they mutually agreed they would sleep apart,after she gave birth to heirs .A nice cinematography(superb finale) ,good acting by the whole cast ,let's forget history,and let's not deny ourselves a good moment.

Alan Rickman's second foray as a director - after THE WINTER GUEST (1997), reunites him with his SENSE AND SENSIBILITY (1995, 9/10) co-star Kate Winslet almost 20 years later. The story juices up a fictitious character, Sabine de Barra (Winslet), a widow and unconventional horticulturist, to the life of landscapist maestro André Le Nôtre (Schoenaerts), who is appointed by King Louis XIV of France (Rickman) for the demanding task of designing gardens of Versailles.Whenever a well-known thespian takes a crack at the director chair, one's knee-jerking reaction might be, is it a one-off deal as a personal vanity project running off the rail or, in a rarer case, an endeavour truly resonates with the right vibe. Well, Rickman's eye-friendly period offering should fortuitously befit the latter category.The plot, conceived by Alison Deegan and co-written with Rickman and Brock, doesn't go off the beaten track to sensationalise the scandalous affair between Sabin and André, emphasise the peer pressure and sexism nor flaunt the royal mores which someone still holds dearly out of nostalgia. On the contrary, the film stay calms, most thoroughly, a prosaic but righteously refrained emotional arc trickles in unhurriedly, owing to an unshowy methodology of the main cast (Stanley Tucci's preferentially homosexual Duke Philippe d'Orleans and Jennifer Ehle's effervescent Madame De Montespan are the exceptions), Winslet is ever so plain, detached, sometimes even absent-minded, in channelling a woman obsessed with a past tragedy and when eventually a new romance catches up with her, she must uncover her carefully concealed wound in order to move on.Schoenaerts is currently the go-to guy for British period outputs, he emerges even more reserved than in FAR FROM THE MADDING CROWD (2015), his André is almost too rational to carry conviction in this storybook tale (in reality, he should be around seventy during the time), all the more, he is completely devoid of any detectable emotion during the heightened two- hander between him and Madame Françoise Le Nôtre (a deliciously devious McCrory), there must be a thin fine line between unresponsiveness and strategic downplaying.Well, the best of pick, is naturally, Mr. Rickman himself, handsomely juggles between Louis XIV's monarchical grandeur and his more humane side with a poker face, particularly in the scenes shared with Winslet, a belated reunion between Colonel Brandon and Marianne Dashwood, it accurately strikes the soft spot of the dewy-eyed.A LITTLE CHAOS, where the chaos is mostly buried underneath the surface, is a quaintly small- scaled drama-romance, a thoroughly-stewed course pandered to those suckers for period production who has an even-tempered heart.