True to its title, not much in the way of chaos occurs in
Alan Rickman’s sophomore directorial effort “A Little Chaos.” In fact most of
the time it’s the exact opposite of chaotic. Instead it’s a modest well-mannered
period piece, taking place in Versailles France during 1628. It’s technically
proficient as most period pieces are and the performances are solid across the
board but nothing outstanding. Rickman directs with competence but on the whole
“A Little Chaos” is instantly forgettable—feeling slight and opting to go the
safer route of predictable romantic drama.
Kate Winslet squeezes into the corset once again as Sabine
De Barra, a lower class gardener hired by landscaper Andre Le Notre (Matthias
Schoenaerts) who’s been commissioned by King Louis XIV (Rickman) to design the
garden at Versailles palace. Notre
choses her to oversee the construction of an outdoor ballroom in the middle of
the gardens. De Barra is independent and strong-minded, not afraid to speak her
mind. When they begin construction on the ballroom she’s placed in a major
leadership role--giving orders to a team of mostly male workers and often works
in the muck herself.
De Barra believes the traditional French gardening style
that relies on symmetry and imposing order on nature (perfected by Notre
himself) is too conventional, believing that her design will be something
“uniquely French.” What about her design is uniquely French? We aren’t so sure.
Rickman doesn’t explore this facet of film in great enough detail. During De Barra’s
job interview Notre simply states that her design doesn’t follow “order” but
it’s never made clear what he means by that. The movie sets up an interesting
conflict—made more significant by the fact that De Barra is a woman operating
in a male dominated profession—between two intelligent and confident
landscapers with vastly different views but doesn’t follow through with it.
Unfortunately, the gardening aspect of “A Little Chaos” is neglected. During
the scenes depicting the construction of the ballroom we’re given no sense of
the progress that’s being made—until we see the finished space at the very
end-- and we still never find out how De Barra’s particular design is different
from Notre’s, or lacks “order.”
Instead, the garden project is used as a backdrop for a more
traditional romantic plot. Through Notre, De Barra is introduced to various
members of French royalty such as the King’s brother Duke Philippe d’Orleanes
(a wonderfully flamboyant Stanley Tucci giving things a much needed energy
boost) and his wife Elizabeth Charlotte (Paula Paul). In no time Sparks begin
to fly between De Barra and Notre. It’s not just that this story is predictable
but the stakes aren’t very high. At this time in France extra marital affairs
are commonplace among members of high society, while a fling with a commoner
like De Barra is looked down upon. However their relationship isn’t greeted
with much opposition. For the most part De Barra is met with open arms from the
French elite and treated with the upmost respect. The only person who openly
objects to the relationship is Notre’s wife Francoise, (Hope Hancock) who’s
reduced to a cold, one-dimensional antagonist. In other words there isn't much
tension or conflict. Rickman chooses a less interesting narrative and fails to
make it meaty. De Barra and Notre’s romantic relationship comes off dull and
inconsequential.
As Louis XIV, Rickman manages to give himself an important
role even though the character doesn’t make much of a dent in the movie. At the
beginning a lot of pressure has been placed on Notre. Louis demands perfection
in regards to his garden and if Notre doesn't deliver that than there’s a good
chance he will be imprisoned or put to death. Yet, this conflict quickly goes
away when Notre begins his entanglement with De Barra and Louis XIV goes by the
wayside. Towards the middle Louis does have one great, moving scene. De Barra
mistakes him for a gardener and the two have a meaningful discussion about life
and gardening. The sequence brings Louis XIV down to a more humanistic level.
In this moment the two are engaging each other as equals, not as King and
commoner. Otherwise Louis remains underdeveloped and distanced from everyone
else, making it hard for us to care about him. When news arrives that Louis’
wife suddenly dies we feel nothing.
I wish I had better things to say about “A Little Chaos.” It
finds a strong female protagonist in De Barra, who Winslett plays with
assuredness and power.
But the screenplay—by Rickman, Jeremy Brock and Alison
Deegan-- is ultimately undercooked. The movie is lacking in substantial
conflict and chooses to focus on the wrong story. The stuff about the creation
of the ballroom is fascinating; I just wish Rickman had explored it more.
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