More than half a century after Riyoko Ikeda first penned her revolutionary manga, The Rose of Versailles, the opulent world of pre-revolutionary France, courtly intrigue, and groundbreaking characters returns to the screen. A new animated film adaptation, produced by the acclaimed studio MAPPA, hit Japanese theaters earlier this year and is now set for its global debut, streaming on Netflix. This release marks a revival of a beloved classic for its 50th anniversary, bringing back the fantastic character, the iconic heroine, Lady Oscar.
A Legacy Reborn: The Enduring Power of The Rose of Versailles
First serialized in Weekly Margaret from 1972 to 1973, Riyoko Ikeda’s The Rose of Versailles was more than just a manga; it was a cultural earthquake. Selling over 20 million copies in Japan alone, it sparked a social phenomenon. The story primarily follows two women navigating the treacherous currents leading up to and during the French Revolution: the historical Queen Marie Antoinette and the fictional Oscar François de Jarjayes, a noblewoman raised as a man to command the Royal Guard.
Ikeda, herself involved in Japan’s New Left movement and identifying as a socialist and feminist, infused the series with complex themes rarely seen in shōjo manga (comics aimed at young girls) at the time. The Rose of Versailles delved into political turmoil, class struggle, social injustice, emerging feminist ideas, and complicated explorations of gender identity and sexuality, all wrapped in a sweeping historical romance. It blended real historical figures and events—drawing heavily from Stefan Zweig’s biography of Marie Antoinette—with compelling original characters.
This narrative depth and thematic richness fundamentally shifted the perception of shōjo manga from a genre primarily for children to one capable of engaging teens and young adults with sophisticated storytelling. Its depiction of adult heterosexual romance between equals, particularly the later relationship between Oscar and her childhood friend André, was groundbreaking for the genre, even as it navigated the complexities of portraying such equality within established conventions. The series didn’t shy away from the harsh realities of the era, contrasting the decadent life at Versailles with the suffering of the common people—a perspective increasingly adopted by Oscar herself as the story progresses.
The manga’s influence extended far beyond print. It inspired a successful 40-episode anime series in 1979 (often known internationally as Lady Oscar), a 1979 live-action film directed by Jacques Demy, and perennial stage musicals by the all-female Takarazuka Revue, which remain popular even today. Ikeda herself returned to the world with spin-offs and sequels, further cementing its legacy.
The figure of Oscar François de Jarjayes is central—a woman raised as a man by her general father who desired a male heir. Oscar becomes a skilled commander, navigating the male-dominated world of the military and the royal court. Although she fits the “warrior maiden” archetype – a woman excelling in a masculine role, often to uphold patriarchal order – Oscar transcends its limitations. Her journey involves not just military prowess and loyalty, but a deep internal struggle with identity, duty, love, and social conscience. She grapples with societal expectations, her own feelings, and the injustices she witnesses, ultimately choosing to side with the revolution. This complexity, her androgynous presentation that captivated readers, and her eventual self-acceptance make her a far more nuanced figure than the traditional warrior maiden who typically relinquishes her male persona to restore order. Oscar’s “unraveling” is tied not to restoring the old order, but to the crumbling of that very order and her embrace of personal and political revolution.
Enter MAPPA: A Modern Vision for a Classic Story
Bringing this complex and beloved story back to animation falls to Studio MAPPA, a name synonymous with some of the biggest anime hits in recent years. Known for animating blockbuster series like Jujutsu Kaisen, Chainsaw Man, and the final season of Attack on Titan, MAPPA has built a reputation for dynamic, high-quality animation.
MAPPA’s animation is often characterized by its detail, leaning towards realistic proportions and environments, sometimes incorporating a gritty aesthetic suitable for darker narratives. The studio frequently uses fine, clean lines, even when adapting manga with rougher art styles, and employs sophisticated post-processing for lighting and effects, alongside integrating 2D and 3D animation techniques. Their stated vision involves challenging new forms of expression across diverse genres without adhering to one particular style, aiming to create works that resonate deeply with fans.
This profile makes MAPPA an intriguing choice for The Rose of Versailles. Their experience handling complex narratives, intense action (relevant to the revolutionary aspects), and mature themes seems well-suited to the depth of the source material. However, the studio’s typically modern, sometimes intense visual style presents a potential contrast to the classic, often ornate, shōjo aesthetic of Ikeda’s original manga and the 1979 anime adaptation.
The 2025 Film: Plot, Production, and People
The new film revisits the core narrative, converging the lives of Oscar François de Jarjayes, Marie Antoinette, André Grandier (Oscar’s childhood friend and servant), and Hans Axel von Fersen (a Swedish count and Marie’s love interest) against the backdrop of late 18th-century Versailles and the looming French Revolution.
Behind the scenes, a talented team brings this vision to life. Ai Yoshimura, known for directing series like Blue Spring Ride and My Teen Romantic Comedy SNAFU, helms the project. The script is penned by Tomoko Konparu (Uta no Prince-sama, Kimi ni Todoke – From Me to You). Mariko Oka (Hell Girl, Nura: Rise of the Yokai Clan) handles character design, adapting Ikeda’s iconic look. The score features the combined talents of Hiroyuki Sawano (Attack on Titan, Promare) and Kohta Yamamoto (86, Ōoku: The Inner Chambers), with Sawano also serving as music producer. The powerful theme song, “Versailles,” is written and performed by singer Ayaka, and narration is provided by Hitomi Kuroki, a noted fan and former Takarazuka Revue performer.
The Japanese voice cast is led by Miyuki Sawashiro as Oscar and Aya Hirano as Marie Antoinette, supported by Toshiyuki Toyonaga as André and Kazuki Kato as Fersen. A large supporting cast includes veterans like Banjō Ginga, Mayumi Tanaka, Fumi Hirano, Akio Ōtsuka, and Sumi Shimamoto, alongside younger talents like Shunsuke Takeuchi, Takuya Eguchi, Miyu Irino, Kenshō Ono, and Saori Hayami. For the international release, the English dub features Caitlin Glass as Oscar, alongside Megan Shipman, Karen Strassman, Ryan Colt Levy, and others. This confluence of top-tier talent—from the powerhouse studio MAPPA and renowned composer Sawano to celebrated lead voice actors Sawashiro and Hirano—signals a high-profile production aiming for significant impact, treating the return of The Rose of Versailles as a major cinematic event.
Where to Watch “The Rose of Versailles”
