
Du Barry attracts the attention of the King of France as he rides through the streets. A meeting follows, she losing her garter and the King his heart.

Adrian Johnson, Alexandre Dumas
United States

A garter on the cobblestones, a heart in the gutter—Versailles never danced so perilously. Forget every perfume-drenched cliché of corseted flirtation; Madame Du Barry (1917) is a fever dream stitched from moth-eaten velvet and human rust. The film opens on a tracking shot that feels decades ahead of its era: the came...

still_frame

still_frame

still_frame

still_frame

publicity

still_frame

publicity

publicity


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

J. Gordon Edwards

J. Gordon Edwards
Community
Log in to comment.
" A garter on the cobblestones, a heart in the gutter—Versailles never danced so perilously. Forget every perfume-drenched cliché of corseted flirtation; Madame Du Barry (1917) is a fever dream stitched from moth-eaten velvet and human rust. The film opens on a tracking shot that feels decades ahead of its era: the camera glides above bobbing heads like a predatory hawk, following the King’s carriage as lantern light licks the faces of the hungry. Into this chiaroscuro steps Theda Bara—part siren..."


Deep dive into the cult classic
Discover similar cinematic experiences
A Directorial Spotlight on J. Gordon Edwards