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Film Analysis of "Ridicule" and "Queen Margot" Through the two movies, Ridicule and Queen Margot, we get many different insights into the way life was in 16th and 18th century France. The movies showcase culture and society through the characters and events, while also going deep into what life might have been like in the time period. Both films use cases of class struggle and separation to bring to light the true human spirit of the age. Ridicule, taking place about two hundred years later than Queen Margot, shows 18th century French royalty and the lifestyle they live at Versailles; eating glorious meals and exchanging wit among each other.

Queen Margot, on the other hand, is centered on the wedding of Margot, a Catholic, and a Protestant. Violence erupts in Paris in a fight for power over 16th century France. Though these movies both depict significantly different lives, relationships and time periods in history, they both portray some very similar characters, stories and inherent human qualities. Through the actions of the characters and the events that occur, both movies show very well that in these cultures, although much in life was determined by class and money, deep external forces guided by God or love or even human instinct could surpass any class barrier, or social or religious predicament. Furthermore, the movies show that be it 16th century or 18th century France, people are people outside of their culture, no matter what. In the movie Ridicule, we are taken into the world of the French countryside in the 18th century.

The story opens with shots of the swamp that the peasants work in. The movie shows broad open spaces of nature with water and workers in the foreground and trees on the horizon. The scene depicted is very rural and almost primitive. Bland colors and a hazy sky give the viewer a feeling of the tough lives these people must have lived. In the foreground the people working are muddy and wet and wearing dirty clothes. As the movie cuts to the opening scenes of the royalty, there is an immediate shift to these bright, vibrant settings of Versailles.

Some of the camera shots include sights of the magnificent fountains and gardens. Along with the vivid colors of clothing and surroundings, a very different lifestyle is portrayed. People are garnished extravagantly with dress and make-up. An example of the different lifestyle is shown right away as the Madame is being powdered before she is dressed by servants. The final element of the background world that really sets up the movie is the flower garden and the well where Ponceludon and Mathilde meet. The images that these settings show are very powerful and innocent at the same time.

The spaces are not very open as there are trees around the garden, but the flowers brighten the foreground and give a sense that for the time the two are free from the other events that are going on in their lives. These backgrounds and settings follow the feelings and experiences of the characters and the story very well. In the opening scene, the viewer is shown sickness in the old peasant in the swamp. Between this shot and the ones following at Versailles, we are shown an immediate class distinction between the peasants and the court society.

The colors and moods of each scene mimic this shift very well. Physically, the peasants are working to get by while the aristocrats are exchanging witty jokes with no regard whatsoever for the poor. The court itself is an established institution in the society. Some people are invited in and others are never to be in. Those inside follow very picky rules of manner and taste. All the dialogue written in the film is very extravagant as well, which mimics the culture and the characters.

The distinction between the rich and the poor in this movie is farther developed. It is determined by a class representation and not on individual terms. Bellegrade shows hospitality to an injured Ponceludon. This act shows us a lot. Bellegrade acts on human spirit here not on the laws of the court. This is very important, because he helps one in need.

This act counters the behavior of the masses in the court as they constantly ignore the troubles of the poor. Ponceludon represents an idea of hope in the movie both to the poor and the viewer. He is persistent with the doctor and soon befriended by him. His wit gains him access to the court and he uses it as he perseveres to get help for his people. Once in, he soon meets Mathilde. He finds her at the well testing a diving suit.

There is a white rabbit inside the suit that is wet. The rabbit is shown very symbolically in their relationship, as she tells him that she doesn't believe in love. Finally we see what the court stands for. Aside from the wit and the superficial value of the clothes and settings, the court kills people's compassion.

Those who love and respect as individuals will do only what will help their own status when inside the court. People will do most anything for respect and turn away most anyone who cannot socially benefit them. These three main themes in the film show both deep meaning to the events of the story and in reflection of the lifestyle in the time period. The way that wit plays out in the movie is very symbolic of what is really important in the culture when boiled down. Inside the court, wit is praised. Wit is relished as though it is a virtue.

It is not something that is faked for status for it is a measure of intellect. However how wit is used is different. The doctor tells Ponceludon, "Honesty and wit are rarely joined". So it seems almost hypocritical that a measure like wit be so important. This shows that there is something very superficial about the way the noble society acts in this culture.

The rules and traditions of the witty society, for example, Ponceludon being told never to laugh with his mouth open, are not virtuous at all. Wit in this society reflects a means of human desire to gain power or acceptance. This is very different from the events that take place outside of the court on personal levels. When Ponceludon meets Mathilde, you can almost see love between the two.

There is no pretending and no showing off for acceptance; merely the two talking. Some external force brought them together and their interest pushes them onward. The image of the diving suit is a very visual metaphor for their relationship. At first it seems as nothing. The suit isn't even water tight, but through the film, it remains a project and the two begin to work on it together.

They fix the leaks and eventually get it to work for extended periods of time. At first, there is no way for these two to be together. Ponceludon is a poor man and Mathilde the fianc " ee of a wealthy noble. As they come closer they must work through obstacles, as with the suit, to make it work. In the end, they find true love in each other and take their place out of court as lovers.

Finally, compassion shines through in this movie. The court becomes accepting and seems to, without a particular reason or push, find compassion. Villi court is termed fraudulent in his wit gets him sent to jail. He doesn't really understand why he aims to be witty other than for his own benefit, and in the end he pays for it. The best example of compassion is that of the deaf and mute. They are thought of as "half-wits" and shunned in society.

As the man presents the work he has done with them in sign language, it shows that they are in fact very smart and even witty. His example of a "play on signs" shows everyone in the court how smart these people are. They base high-society solely on language and eventually find that it isn't everything. The acts of compassion and the human spirit above are what stick out in this movie as holding the culture together. They " re all people in the end, regardless of status.

Queen Margot gets to these ideas through the background world, the structure of experience and the scene of action as well. This film opens with an extravagant church scene. The church is adorned and all of the characters have on incredible dress. The wedding being held represents togetherness; in this case it is symbolic of the Catholics and Protestants being together.

This theme plays out through the entire movie. As Margot exits the church, the doors are opened. Bright light fills the screen and covers her face which seems to glow. This reoccurs several times in the movie, visually showing Margot as some type of savior or godly being. As the wedding festivities begin, the background is filled with commotion and violence. It is very strange that this occurs on a wedding day, none the less one of royalty and for peace.

Most of the scenery and action takes place in the city. The camera focuses on action in tight spaces, and the background is usually stone walls or corridors on the streets. The colors are at times dull and very contrasting to the brightness of the country side in Ridicule. There are, however, a few open country shots in the movie. These are big panoramic views of skyline, mountains and foreground.

In the film these shots are mostly dedicated to la Mole. His character represents freedom in the movie and these shots capture that idea contrary to the feeling of being trapped in by the walls of the city. It is interesting that la Mole's enemy Hannibal, who eventually becomes his ally, is shown once in the wide shot. The background of the massacre scene is also very well done in its portrayal of the feelings and meanings aroused. Everything is tinted black or red. Either covered by shadows of the night or light from the flame or blood, these colors show the feelings of passion and violence that are created in the city that night.

Finally the last scene of the movie sets the ending perfectly. The camera shows the open cobblestone road leaving the city walls and heading to the country. Margot is in the carriage and again the light shines on her face, illuminating feelings of hope and sorrow as well as a sense of freedom from leaving. In this movie, again, we see incredible costumes worn by the royalty. We see fear and violence lead the characters in their actions in much of this film. Many of them use religion as a defense for violent action.

In actuality it seems as an attempt to simply secure power whereas wit was used in Ridicule. The physical struggle that is at hand in the movie between the Catholics and Protestants is played out through violence in the massacre. These portrayals also simplify down to personal levels of characters. Navarre is faced with a similar internal anguish and massacre when his people are being slaughtered and he is threatened with converting and sacrificing his own beliefs.

A similar struggle is shown with la Mole and his passion for Margot. He must sacrifice his life and beliefs to be with her, even for a moment. As these different elements of the story come about we see compassion arise once again. The true heroes of the story let their true human spirits lead them. Margot and Henri do not have true love, but merely a wedding. However, there is a mutual and deserved respect that they exemplify towards one another.

Henri refuses to leave Margot despite the fact that she is in love with another man. He gives aid to Charles when he needs it most, although his brothers and mother have been trying to kill him. Margot never lets her husband down as promising to be his ally. At times it is unclear what her true motives are but by the end she really has tried to protect He nir no matter what.

Her devotion to la Mole shows true compassion as well. She puts her life on the line to save him and goes against both religious and social beliefs to be with him. The last hero of compassion in this film is la Mole the peasant. He dies for his love and enables freedom for Henri and Margot. It is interesting that so much is done for love in this movie. Love itself takes on different forms.

There is the physical sense of lust, the sense of devotion and commitment, and finally the two in the form of actual love. The wedding merely represents a relationship of husband and wife. It doesn't mean anything else. Margot even tells Henri not to come to her room on the wedding night. Love is lustful.

Both Henri and Margot look elsewhere for sex. Margot wears a mask to find a complete stranger whom she has no feelings for. We also see some examples of incest, which is purely a physical act. The relationship between Margot and the stranger, la Mole, is love.

Their story parallels the one of Ponceludon and Mathilde. They break class and social structures to follow their desires and in the end love wins. Although la Mole is killed he dies for what he believes and who he believes in. Ponceludon faced death in Ridicule as he was challenged to duel and miraculously won. The forces that pull the couples together are love or god or human instinct or all three.

In the end Margot, although committed to Henri knows that she could never love him. Her heart's instinct is toward la Mole, and in both movies we see that the human spirit overcomes. Although the cultures represented in both movies were very strict and rigid, focusing heavily on family and social status, the individuals were not set to a particular place. In both movies the characters change and break the rules and norms of society to fulfill love and desire. Desires for power and status capture everyone in these cultures whether it is to develop wit in order to gain acceptance or use religion to gain control, or to make choices to follow love. Those who are true in human nature show compassion for others in the films as well.

These qualities are timeless human characteristics. Both the 16th century and 18th century French are faced with choices that are made with human values in mind. All people are faced with choices that reflect these values. In the end of these movies, everyone has their place in society and time.

"The soul of wit is to know one's place". This is destiny and it isn't changed in life but accepted. The different characters do what they can for love but in the end have to accept it for what it is. In Ridicule Ponceludon learns that he really doesn't need to belong in the court for him to be with Mathilde. And with la Mole and Margot; she was a Catholic of royalty and him, a Protestant hero from the country. It was for her to accept his death and to live on with a lost love.

These inherent human qualities aren't changed through history but adapt. They come about in different ways through different time periods and cultures. These qualities draw the two films together in the fact that they are about the depiction of lives, choices and relationships in different times but through the same human principles.