The Taking of Power by Louis XIV

The most famous of neo-realist director Roberto Rossellini's late-career television historical dramas, 1966's The Taking of Power by Louis XIV depicts the events in which young King Louis XIV (1643-1715) of France assumed personal control of the government, thereby creating the concept of royal absolutism. Presented with a restored digital transfer, the film—though shot on a comparatively modest budget—boasts an opulent look stemming from the authentic settings and lavish costumes, as well as the director's penchant for composing scenes in the style of paintings from the period. The film shares additional qualities with Rossellini's other historical dramas made for European television (the four-disc collection Rossellini's History Films: Renaissance and Enlightenment, from Criterion's extra-less Eclipse line for $59.95, compiles three of these titles: 1972's The Age of Medici, 1972's Blaise Pascal, and 1974's Cartesius): namely, very deliberate pacing and a script that draws much of its dialogue from actual texts from the period. Likewise, The Taking of Power by Louis XIV eschews the narrative conventions of biographical films, focusing instead on a single aspect of Louis' rule—the ingenious method by which he established control over the fractious nobility: imposing a dress code so costly that it effectively forced nobles into financial dependence while at the same time transforming Versailles into a powerful hub where all aspired to be housed (at Louis' expense). The only drawback here is Jean-Marie Patte's portrayal of the title character; his tentativeness from reading lines off cue cards comes across as simply amateurish. Otherwise, Rossellini's The Taking of Power by Louis XIV is a remarkable if rarefied achievement. DVD extras include a multimedia essay by Rossellini scholar Tag Gallagher, a documentary on Rosselini's late career, interviews with artistic advisor Jean-Dominique de la Rochefoucauld, script supervisor Michelle Podroznik, and the director's son Renzo, and a booklet featuring an appreciative essay by critic Colin MacCabe. Highly recommended. (F. Swietek)