Tea at Trianon: A House Divided

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Saturday, November 12, 2011

A House Divided

Broken homes on film. An article by Steve Greydanus.

In a number of recent broken-family films, “broken home” is not just a metaphor. Like Dorothy’s, uprooted in fairy-tale response to her running away, physical houses in one family film after another are displaced, torn asunder, and undergo fantastic, traumatic crises and transformations in visionary mirroring of the upheaval in the characters’ lives. Among the more striking examples of this poetic linking of house and household are Jon Favreau’s intriguing 2005 fantasy Zathura, Gil Kenan’s 2006 Halloween tale Monster House, Mark Waters’s smart, scary 2008 thriller The Spiderwick Chronicles, and Pete Docter’s 2009 Pixar fantasy Up.
All four films touch in one way or another on themes of death and marital dissolution, events that rock families to their foundations. Two—Zathura and The Spiderwick Chronicles—are live-action adventures, based on children’s books, and focus on families broken apart by marital division; the other two—Monster House and Up—are original computer-animated fantasies, and focus on childless unions ending in death. Connective threads run in other directions as well. (Read entire article.)