By just looking at the cast, I shouldn't be surprised that this movie is good. But I was surprised. It was more than good. It was mesmerizing.
I am compelled to get something out of the way first. The period piece is set at a period of Louis XIV when France was enjoying power and prosperity and the polarization of rich and poor had not yet developed to the point, a century later, of catastrophic meltdown. Still, to enjoy this movie, one needs to avoid adopting a judgmental stance of condemning the outrageous extravagance of royalty, but focus on the appreciation of beauty and art and the admiration of the protagonist, a female architect by the name of Sabine De Barra, so brilliantly portrayed by Kate Winslet.
Without belaboring the details, I'll just report that the simple plot surrounds Louis XIV's (Alan Rickman) wish to have created something of an esthetic perfection in the form of gardens in the lavish Palace of Versailles. One crucial component is an open-air, circular ball room that is complete with auditorium seats and running fountains. Against all odds, Sabine wins this job by impressing the King's trusted master-builder Andre Le Notre (Matthias Schoenaerts) with her design that subscribes to the theory of having a little chaos (hence the title) rather than complete, rigid order. While Le Notre disagrees with her theory, he has the vision and capacity to accept into the project "a voice different from his own". Development of romance is predictable, as are dramatic conflicts and crisis.
Winslet is pitch-perfect as a woman with talent and passion for her profession that was all but male-dominated. There is also the more subtle, but fully palpable side of vulnerability which Winslet projects almost effortlessly. Belgian actor Schoenaerts would have impressed you, if you have seen him in "Rust and bone" (2012) providing solid support to Marion Cotillard in her impeccable performance as a women who just lost her legs in an accident. In addition to directing, Rickman also played a key character, giving the reason that since set construction for this movie was so expensive, saving the salaries of one key character would help to ease the budget. Whether you consider that jest or not, his portrayal of Louise XIV is immensely successful in shaping this character into someone almost lovable. Stanley Tucci does the usual Stanley Tucci thing, lighting up the screen with his flamboyant portrayal of a charismatic nobleman. In a small role of one of the woman at the King's court is one who is among my top favorite, Jennifer Ehle. While she has produced an abundance of excellent work over the years, she'll always be remembered from "Possession" (2002) as Christabel LaMotte who, incidentally, is in the same predicament as Sabine De Barra, a talented woman in a male-dominated society.
Cinematography, art direction and music all contribute to making this movie such a pleasure to watch.
If I have one criticism, it would be the somewhat contriving mysterious background of Sabine who is known to be a widow but with very little other information. It is obvious though that she is trying very hard to block certain excruciatingly painful memories, with little success. It is also obvious that this baggage was becoming an almost insurmountable obstacle in the development of a more intimate relationship between her and La Notre. The mystery, eventually when revealed, is neither earth-shattering nor emotionally compelling. The way it is dragged out like a suspense mystery is quite unnecessary, to say the least.
I am compelled to get something out of the way first. The period piece is set at a period of Louis XIV when France was enjoying power and prosperity and the polarization of rich and poor had not yet developed to the point, a century later, of catastrophic meltdown. Still, to enjoy this movie, one needs to avoid adopting a judgmental stance of condemning the outrageous extravagance of royalty, but focus on the appreciation of beauty and art and the admiration of the protagonist, a female architect by the name of Sabine De Barra, so brilliantly portrayed by Kate Winslet.
Without belaboring the details, I'll just report that the simple plot surrounds Louis XIV's (Alan Rickman) wish to have created something of an esthetic perfection in the form of gardens in the lavish Palace of Versailles. One crucial component is an open-air, circular ball room that is complete with auditorium seats and running fountains. Against all odds, Sabine wins this job by impressing the King's trusted master-builder Andre Le Notre (Matthias Schoenaerts) with her design that subscribes to the theory of having a little chaos (hence the title) rather than complete, rigid order. While Le Notre disagrees with her theory, he has the vision and capacity to accept into the project "a voice different from his own". Development of romance is predictable, as are dramatic conflicts and crisis.
Winslet is pitch-perfect as a woman with talent and passion for her profession that was all but male-dominated. There is also the more subtle, but fully palpable side of vulnerability which Winslet projects almost effortlessly. Belgian actor Schoenaerts would have impressed you, if you have seen him in "Rust and bone" (2012) providing solid support to Marion Cotillard in her impeccable performance as a women who just lost her legs in an accident. In addition to directing, Rickman also played a key character, giving the reason that since set construction for this movie was so expensive, saving the salaries of one key character would help to ease the budget. Whether you consider that jest or not, his portrayal of Louise XIV is immensely successful in shaping this character into someone almost lovable. Stanley Tucci does the usual Stanley Tucci thing, lighting up the screen with his flamboyant portrayal of a charismatic nobleman. In a small role of one of the woman at the King's court is one who is among my top favorite, Jennifer Ehle. While she has produced an abundance of excellent work over the years, she'll always be remembered from "Possession" (2002) as Christabel LaMotte who, incidentally, is in the same predicament as Sabine De Barra, a talented woman in a male-dominated society.
Cinematography, art direction and music all contribute to making this movie such a pleasure to watch.
If I have one criticism, it would be the somewhat contriving mysterious background of Sabine who is known to be a widow but with very little other information. It is obvious though that she is trying very hard to block certain excruciatingly painful memories, with little success. It is also obvious that this baggage was becoming an almost insurmountable obstacle in the development of a more intimate relationship between her and La Notre. The mystery, eventually when revealed, is neither earth-shattering nor emotionally compelling. The way it is dragged out like a suspense mystery is quite unnecessary, to say the least.