Cult Review
Archivist John
Senior Editor

Okay, so you're thinking about digging up an old silent film, huh? Well, Madame DuBarry (1919) might just be a curiosity for most folks today.
If you're someone who loves diving into early cinema, seeing how they told stories *before* sound, or you just really appreciate a lavish costume drama from way back, you might find some bits to like.
But if you need snappy dialogue, quick cuts, or anything remotely resembling a modern pace, you're probably gonna be bored pretty quick. It's a look back, for sure, but it asks a lot from a modern viewer.
Priscilla Dean as Jeanne Bécu, then Madame DuBarry, she really throws herself into it. There are moments where her expressions are just *huge*, you know? Like, **wide-eyed terror** or a _smirk_ that takes up half the screen.
It's a silent film, so you expect that, but sometimes it felt like she was trying to act for the back row of a massive theater. Which, honestly, she probably was.
The sets and costumes are where this film really tries to shine. You see these gowns, the powdered wigs... it's all very grand. ✨
But then you get a closer look, and some of the backdrops feel a bit flat, like painted canvas. You can almost feel the budget stretching thin in places.
Still, the sheer number of extras in some of the court scenes, moving around in all that finery, it’s quite something to see.
There's this whole sequence early on where Jeanne is trying to escape a situation, and she just runs and runs. The camera follows her, and it just keeps going. It felt endless.
You get the sense they really wanted to emphasize her desperation, but it just became a bit much, you know? Like, okay, she's running. We get it. 🏃♀️
And the intertitles! They pop up every few seconds, sometimes. Some of them are just necessary bits of dialogue, but others are these really dramatic statements.
You're trying to follow the action, and then BAM, a big block of text. It's a constant stop-start rhythm that takes some getting used to.
One particular title card just flat out tells you how manipulative a character is, rather than letting the acting show it. It felt a little heavy-handed, honestly.
Denis Auburn as King Louis XV, he's interesting. He plays him with this sort of weary indulgence.
You can almost see the weight of the crown on him, even when he's just *gesturing* for another servant to come closer. He doesn't have the same huge, theatrical gestures as Dean, which makes his moments feel a little more grounded, oddly enough.
There's a scene where DuBarry is first presented at court. All these nobles are just *staring* her down. 🤨
The camera cuts from face to face, and each person has this look of utter disdain. It's a great little moment, really shows you the social tension without a single word spoken.
The way one older noblewoman raises her chin just so, it's a small detail, but it speaks volumes.
I did find myself wondering about the logistics of some of those early films. Like, how many takes did they do for that one elaborate banquet scene? Did someone trip? You can't help but look for those little imperfections.
There's a moment where a prop goblet seems to wobble a bit too much in someone's hand, and it just made me smile. 😊
The film gets noticeably darker as the story progresses, especially towards the end. The opulence fades into a more somber mood, though the visual spectacle never quite disappears.
It’s almost like the film itself starts to realize the party is over.
It's a historical piece, yes, but it’s also very much a product of its time. The moralizing, the way certain characters are portrayed as purely good or evil... it lacks the kind of complex character shading we expect now.
But hey, it’s 1919. What were you expecting, right?
This isn't a film you put on for casual viewing. It's something you approach with a certain frame of mind, ready to appreciate it as a historical artifact, a glimpse into early Hollywood's attempt at grandeur.
**It’s a commitment.** You gotta be in the mood for it. And maybe have some snacks ready. 🍿

IMDb 6.5
1923
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