On its original release, Patrice Leconte's period piece was alternately hailed as a triumph of literate sophistication and lambasted as a trompe l'oeil that disguised its shortcomings with shallow artifice. In fact, both viewpoints were valid, as Ridicule is a film that not only tackles the elegant façade of the court of Louis XVI, but it also exposes the snobbery of the supposed cultural élite.
One of the recurring criticisms of the picture was that it strove for a sense of witty refinement, yet only delivered a string of cheap insults and laboured bon mots. But this is entirely to miss the point. By setting the action in the early 1780s, Leconte sought to demonstrate the decadence and decay that would bring the absolutist edifice down within the decade. With courtiers pandering to the king's penchant for posturing and pontification, what chance did a provincial nobleman like Ponceludon de Malavoy have of securing permission to drain the marshes on their property and, thus, alleviate the poverty of their peasantry?
One review suggested that the film could be retitled Mr Smith Goes to Versailles and mocked that French culture had become so overwhelmed by American tropes and attitudes that it was even making movies in Capra-corn homage. But this again betrays a lack of appreciation for Ridicule's subtlety. James Stewart and Charles Berling certainly play idealists who learn that the only way to beat the system is to exploits its own rules. But rather than revealing a dumbing down of French film-making, doesn't this imply a recognition that the seeds of 1789 were planted during the American War of Independence, when French troops fought to overthrow a monarchy that had lost touch with its subjects?
Therefore, rather than being a feature that covets cultivation and falls short, Ridicule is a masterly unmasking of pretension and superficiality. Moreover, it's a sobering insight into the abnegation of responsibility shows just how completely power corrupts and how disconcertingly easy it is to mask incompetence with eloquence. It is, in fact, the perfect period parable for the age of spin. What's more, it's also irresistibly entertaining.
18th century Versailles. A man comes seeking royal sponsorship to drain his marshes. Entangled by the verbal intrigues he finds there, he must use his tongue like a rapier. A brilliant essay on moral decay. Patrice Leconte's lavish, superbly written costume drama was a BAFTA winner and was nominated for both an Oscar and the Palm D'Or.
Patrice Leconte’s Ridicule gleaned a slew of awards, all justified. A poor nobleman has a plan to rid his homeland of its disease infested swamp. To do this he needs b... more >
Patrice Leconte’s Ridicule gleaned a slew of awards, all justified. A poor nobleman has a plan to rid his homeland of its disease infested swamp. To do this he needs backing and so heads to the court of King Louis XV1 in a bid to solicit aid. He soon discovers that the worthiness of the plan itself will not grant him an audience with the King, at Versailles the sharpnesss of one’s wit is what gets you noticed. Leconte’s sardonic, sharply written costume drama bagged the BAFTA winner for best foreign language film, was the winner of four Cesars, and was nominated for both an Oscar and the Palm D’Or. And like the best period films, it is at once a window into the past and strikingly contemporary. < less
