Re: The Princess Of Montpensier Movie Free Download In Italian
Ania Cozzolino
The party then travels to Paris, where Montpensier surprises Guise and Marie talking intimately together. Swords are again drawn. This time it is Anjou who breaks up the fight. Guise then catches Marie on a staircase and starts kissing her, but she breaks away. She confides in Chabannes, who advises her to keep well clear of Guise. Guise, he warns her, is simultaneously courting another woman, the royal princess Marguerite of Valois, sister of Anjou.
Portrait of Marie de Bourbon-Montpensier represented in bust and turned of three-quarter, dressed in a dress with collar folded in lace emphasizing her cleavage, a lace bustier richly embroidered with silver threads. Given her important rank, the princess wears many jewels: a necklace of pearls around her neck, pearls in her ears and several rows of pearls decorating her costume.
Oil on panel, presented with its original frame.
Dimensions: with frame: h. 46 cm, l. 37 cm; panel: h. 25 cm, l. 33 cm.
Marie de Bourbon-Montpensier (1605-1627), Princess of France and Duchess of Montpensier, daughter of Henri de Bourbon-Montpensier and Henriette-Catherine de Joyeuse.
She married Gaston of France, Duke of Orleans and brother of King Louis XIII, in 1626. The couple had a daughter, Anne Marie Louise d'Orleans, Duchess of Montpensier, known as "The Great Mademoiselle". The birth of this child was the cause of the death of Marie de Bourbon-Montpensier who succumbed to her diapers six days after birth.
French School circa 1625
BEAUBRUN Louis, active 1609-1627
Died in 1627, the oldest of the Beaubrun was the founder of a real dynasty of painters, specialized in the art of the portrait, which put their talent at the service of the royal family of France until the end of the XVII century. At the height of his career, around 1610, Louis Beaubrun was supplanted by the arrival in Paris of Frans Pourbus the Younger (1569-1622), the great Flemish portraitist sent to the court of France by Eleonore de Gonzague, Duchess of France. Mantua and sister of Queen Marie de Medici. However, given the enthusiasm for portraiture at the French court, Louis Beaubrun continued to produce - and to reproduce! - his refined effigies of princes and princesses of the blood and the high French aristocracy.
At his death, the astonishing production of the Beaubrun studio was continued by his son Henri (1603-1677) and his nephew Charles Beaubrun (1604-1692) who became the portrait painters of King Louis XIV.
The movie opens with a bloody battle and men are frequently sent into battle. The swordplay in this movie is not swashbuckling fun; it is for killing. The men of the aristocracy, the warriors, protect their agricultural lands and fortress-palaces, keep them out of the path of war as safe havens for women and children. Marie, the princess of the story, is isolated in such a backwoods place. She believes, and never questions, that a woman should be submissive to father, husband and elders and behave morally in all regards, but her nature is not typical; she seeks as well a level of self-realization and passion not available to women, or even to most men. As is often the case in movies, one has to suspend disbelief about the age attributed to the character. Mélanie Thierry was thirty at the time, playing a girl in her late teens, but it works because Thierry looks young and has both beauty and a quiet, commanding manner that makes one believe the four men will fall in love with her, or at minimum want to possess her. We first see Marie as a sixteen year old in love with her childhood playmate, Henri, the older brother of the boy to whom the families has long since betrothed her. When her father decides to marry her instead into another family, she protests, protesting because that marriage means no longer being in close contact with Henri, a reason she can admit to no one. Her mother persuades her to obey and adds that love is irrelevant in a marriage.
The other day there was a masked and costumed ball,
but only for the family and the intimate court circle--the
princesses and ladies of honour. M. de Joinville
appeared all in rags, in complete Chicard costume. He was
extravagantly gay and danced a thousand unheard-of
dances. These capers, prohibited elsewhere, rendered the
Queen thoughtful. "Wherever did he learn all this?"
she asked, and added: "What naughty dances! Fie!"
Then she murmured: "How graceful he is!"
The guests arrived at half-past eight. The Duke de
Nemours lives on the first floor of the Pavilion de Marsan,
over the apartments of the Duchess d'Orleans. The guests
waited in a first salon until the doors of the grand salon
were opened, the women seated, the men standing. As
soon as the prince and princess appeared the doors were
thrown wide open and everybody went in. This grand salon
is a very fine room. The ceiling is evidently of the time
of Louis XIV. The wails are hung with green damask
striped with gold. The inner window curtains are of red
damask. The furniture is in green and gold damask. The
ensemble is royal.
The King and Queen of the Belgians were at this
concert. The Duke de Nemours entered with the Queen, his
sister, upon his arm, the King giving his arm to the
Duchess de Nemours. Mmes. d'Aumale and de Montpensier
followed. The Queen of the Belgians resembles
the Queen of the French, save in the matter of age. She
wore a sky-blue toque, Mme. d'Aumale a wreath of roses,
Mme. de Montpensier a diadem of diamonds, Mme. de Nemours
her golden hair. The four princesses sat in high-backed
chairs opposite the piano; all the other women sat
behind them; the men were in the rear, filling the doorway
and the first salon. The King of the Belgians has a rather
handsome and grave face, and a delicate and agreeable
smile; he was seated to the left of the princesses.