Name: Jeanne du Barry
Genre: Drama, History, Romance
Released: 2023-05-16T00:00:00+00:00
Cast: Maïwenn, Johnny Depp, Benjamin Lavernhe, Melvil Poupaud, Robin Renucci

The camera lingers on Maïwenn’s eyes, wide and desperate, as her character Jeanne du Barry faces the loss of her royal lover in the film’s final moments. It’s a striking image, one that underscores the precarious fate of history’s last official mistress to Louis XV. Directed by Maïwenn herself, this 2023 drama aims to reclaim Jeanne’s story from the shadows of Versailles’ opulent halls, but the result is a film that stumbles as often as it strides.

Jeanne du Barry chronicles the meteoric rise of Jeanne Bécu (Maïwenn), an illegitimate daughter of a seamstress who uses her wit and charm to claw her way from poverty to the king’s bedchamber. The film’s first half is its strongest, reveling in the gritty, tactile details of 18th-century Paris—Jeanne’s threadbare dresses, the clatter of coins as she hawks trinkets, the smoky glow of candlelit brothels. Maïwenn’s direction here is confident, grounding Jeanne’s ambition in the tangible weight of her surroundings. The cinematography, though not flashy, effectively captures the stark contrast between Jeanne’s humble beginnings and the gilded cages of Versailles.

The relationship between Jeanne and Louis XV (Johnny Depp) is the film’s emotional core, but it falters in execution. Their liaison is presented as an oasis of peace, yet the screenplay struggles to convey the depth of their connection. Scenes meant to be intimate often feel stilted, lacking the spark or tension that would make their romance compelling. Depp’s performance is restrained, but his Louis XV never quite escapes the shadow of his more flamboyant portrayals. There’s a certain stiffness in his interactions with Maïwenn that prevents the chemistry from feeling authentic. The film attempts to portray their bond as one of mutual understanding and escape, but the execution falls short of truly convincing.

Maïwenn’s portrayal of Jeanne is the film’s saving grace. She imbues her character with a ferocious energy, capturing both her vulnerability and her ruthless ambition. Her performance is raw and unfiltered, particularly in the scenes where Jeanne navigates the treacherous waters of courtly politics. However, as some critics have pointed out, Maïwenn’s acting occasionally veers into melodrama, particularly in the film’s latter stages when Jeanne’s fate hangs in the balance. The historical backdrop is richly detailed—costumes and sets are impeccable—but the pacing drags during courtly intrigues that feel more like obstacles than dramatic turning points.

The film’s greatest misstep is its uneven tone. It oscillates between a gritty character study and a lavish period drama, never fully committing to either. This inconsistency is evident in the way the film handles Jeanne’s relationships. Her dynamic with Louis XV is central, but the screenplay struggles to balance it with the political maneuvering and personal betrayals that surround her. The supporting cast, including Benjamin Lavernhe as La Borde and Melvil Poupaud as Le Comte Du Barry, delivers solid performances, but they are often overshadowed by the film’s tonal shifts.

Jeanne du Barry attempts to celebrate the rebellion and modernity of its protagonist, as noted by some critics, but it ultimately fails to fully realize this ambition. The film’s historical setting is beautifully rendered, evoking the excesses and intrigues of Versailles, but it lacks the narrative cohesion to make Jeanne’s journey truly compelling. The pacing is another issue; the film feels sluggish in its middle act, bogged down by scenes that add little to the central narrative.

The film’s final act, which depicts the king’s decline and death and Jeanne’s banishment from court, is its most emotionally resonant. Maïwenn’s direction here is stark and unflinching, capturing the cruelty of court life with a visceral intensity. The scenes at Louis’s deathbed are particularly powerful, a moment that finally gives the film the emotional weight it has been building towards.

In terms of genre fit, Jeanne du Barry aligns itself with recent historical dramas like “Versailles” and “Marie Antoinette,” but it lacks the innovative storytelling and visual flair that made those projects stand out. It’s a solid effort, but one that feels more like a traditional period drama than a fresh take on the genre. The film’s originality lies in its focus on Jeanne’s perspective, but even this angle is not explored as deeply as it could be.

Jeanne du Barry is a film for history buffs and fans of period dramas, but it may not appeal to those looking for a more dynamic or emotionally engaging narrative.