The Princess of Montpensier

The Princess of Montpensier is a story of romantic entanglement from director Bertrand Tavernier, set against the bloody backdrop of the Religious Wars. But more than anything else, says Emma Rowley, it's an engrossing coming-of-age tale about a naïve heiress in 1560s France.

The film opens with a dynamic battle sequence, in which the Comte de Chabannes (Lambert Wilson) is hunting down heretics. But after a fight at close quarters during which he fatally stabs a pregnant woman, he deserts, appalled by his experiences of war.

Elsewhere in the country, the heiress Marie de Mézieres (Mélanie Thierry) finds that her childhood has come to an abrupt end when her father decides to break her engagement to the younger son of the Guise family, in favour of a more profitable alliance with Philippe, the Prince of Montpensier (Grégoire Leprince-Ringuet). Politically, the Guise dynasty is both powerful and distrusted but to Marie, they are her cousins. In love with the elder brother of her betrothed, she expected to live among people she was familiar with but instead finds herself forced into marriage with a man she has never met.

Shortly after their wedding, Philippe takes Marie to his family's most secluded castle where she will be safe from the encroaching violence of the civil war. But when he is summoned to join the forces in battle, Marie is left behind to be instructed for a future court appearance by his mentor, the disgraced Chabannes. They are joined by the man she still loves, the Duc de Guise (Gaspard Ulliel) and the future Henri III, the Duc d'Anjou (Raphaël Personnaz). De Guise's feelings for her are inflamed by the obvious interest of his royal companion and the two begin a rivalrous attempt to gain her affections, all the while keenly observed by her new husband and Chabannes, who has also fallen for his young pupil.

The Princess of Montpensier is an adaptation of Madame de la Fayette's novella of the same name. But the filmmakers have created something freer and more visceral out of the source material, juxtaposing to effect the scenes of war with those of the sheltered girl's life. While the story is known for its chaste depiction of romance, Tavernier and screenwriting partner Jean Cosmos added moments of passion as well as curious and lively details of life in the 1560s: the ritualistic quartering of a boar after the hunt; the travelling saleman who brings tabloid-style news along with his beads and charms; the young couple's wedding night, during which they must consummate their union with their parents and attendants in the room; and an Arabian-nights themed party at court.

As the heroine of a period romance, protagonist Marie is an unusually rounded character. Curious and intelligent, she is also passionate, uneducated and naïve. With little freedom of her own, her options in life are represented by the group of potential suitors who surround her: her childhood sweetheart, the aggressive and amibtious Duc de Guise; her virtuous husband Montpensier; the sophisticate Henri, Duc d'Anjou; and the wise Chabannes. The story begins and ends with the actions of Chabannes, who teaches her not only poetry, philosophy and to write for herself (something that disturbs her jealous husband) but also an understanding of love and human nature.

The key characters are brilliantly cast, the very different actors balancing the tale. Grégoire Leprince-Ringuet's gives a convincing and naturalistic performance as Marie's lovelorn husband, and creates an interesting dynamic in his scenes with Lambert Wilson's Chabannes. Meanwhile, Tavernier's portrait of the young Duc D'Anjou – who is usually characterised as a foppish caricature – is superb, with Raphaël Personnaz underplaying the role with wit and charm. There's none of the stiffness nor solemnity associated with period pieces, and the characters always appear spontaneous and impulsive.

The film is shot in a fresh, contemporary style and doesn't linger on the wonderful costumes and props as period pieces so often do to the detriment of the story. Nonetheless, the romantic plot at the heart of the tale is rendered problematic by the fact that the Duc de Guise (the historical figure known as 'Scarface' for his battle wounds) is quite obviously a rotter who does not return Marie's affection as earnestly as she gives it, making it difficult for the audience to sympathise with her passion when its outcome is only too predictable. Still, this is a quibble in a film whose characters, performances and attention to detail are enthralling.

Rating on a scale of 5 unsuitable suitors: 4

Release date: TBC 
Directed by: Bertrand Tavernier 
Written by: Jean Cosmos, François-Olivier Rousseau, Bertrand Tavernier  
Cast: Mélanie Thierry, Lambert Wilson, Grégoire Leprince-Ringuet, Gaspard Ulliel, Raphaël Personnaz, de Bodinat, Eric Ruillat
Rating: TBC 
Running time (mins): 139