Marie Antoinette was the Paris Hilton of the 18th century. With the country’s entire checkbook at her disposal, the Austrian Archduchess feverishly spent money on a superficial lifestyle that cast a tremendous spotlight on her lack of purpose beyond that of producing a future king for France. Director Sophia Coppola’s cleverly titled, avant-garde portrayal of the young queen is charmed with the most delicate detail of her daily life, and recreates the stunning world of the lowest lows of the highest royalty.

The film spans the time from Antoinette’s arrival in France at age 14 and her arranged marriage to Louis XVI, to her eventual escape from Versailles under the momentum of the surging French Revolution. Played by Kirsten Dunst, Antoinette’s assimilation from her home in Austria to the skeptical multitudes of French nobility is marred with resentment and uneven seams. From the very moment of her arrival in France, Antoinette’s soul purpose is to produce an heir to the throne. However, her awkward and incompatible marriage to the eventual king causes great rifts within both families, due in large part to his sexual and social incompetence.

Although the tremendous attention to detail by Coppola is equally impressive as it is stunning, the picture lacks any real direction outside of the emotional stress of the queen. Coppola counters Antoinette’s plunging depression with extended scenes of euphoric excess at lavish parties delightfully characterized by Dunst’s innocently flippant and care free nature. Heavily spattered with pensive looks and longing stares into the distance, no substantial conflict between any two characters develops into any kind of notable substance and her relentless attempts to consummate the marriage with the king, played by Jason Schwartzman, serve for most, if not all, of the plot dilemma.

While the story of Marie Antoinette is as compelling as it is extensive, critical holes in history are apparent, including the most glaring and obvious conclusion. Coppola spends so much time reveling in the grandeur of her own creation that she forgets to provide the audience with something to stimulate their mind as well as their eyes. With capable actors giving characters so much potential, this missed opportunity will leave viewers wanting to witness the most well known piece to this puzzle.

Backed by a flamboyantly annoying soundtrack, “Marie Antoinette” fails to prove anything beyond the shocking notion that the woman was obsessed with excess and gave nothing back to the country she took so much from. Lacking any real direction, its attempt to be a hip and edgy achievement goes awry well shy of the final credits.

Rating: 1 Star

Total stars possible: 4

Josh Huggett can be reached at [email protected]