VERSAILLES NO BARA MOVIE

DESCRIPTION

CAST

MANGA DramaVersailles no Bara
ANIME AdventureVersailles no Bara

REVIEWS

• 

  Giovanni04

  1/100
  Rushado de Versalhes: Uma História Sem Impacto

  Quando anunciaram esse filme pela primeira vez admito que fiquei hypado (eu não havia visto a série original ainda), anime velho voltando, coisa boa! Pelo menos era o que eu pensava...

  Com isso assisti a série original, foi uma das melhores obras de arte que vi na minha vida, amei cada episódio, cada minuto e cada frame. Foi nesse momento que já sabia que esse filme ia ser uma merda, pelo simples fato de que não tinha envolvimento dos saudosos Tadao Nagahama, Osamu Dezaki, Shingo Araki e as centenas de outros artistas que trabalharam na série original.

  E hoje foi o bendito dia que decidi assistir esse filme, eu já sabia que não ia gostar, mas PUTA QUE PARIU IRMÃO, não pensava que ia ser tão ruim assim. Um dos filmes mais rushados que vi na minha vida, o impacto da história original completamente se perdeu, onde você não se importa com absolutamente nenhum dos personagens porque o filme mal explora eles. Não dá pra contar a história inteira de Versalhes em um filme, e não sei porque que continuam insistindo nessa merda...

  A animação é dura e inexpressiva, algo que os trailers já mostravam, os visuais realmente só ficam bonitos quando se trata das músicas (e mesmo assim nem todas elas são bem animadas...). Namoral, eu teria vergonha de pagar pra ir pro cinema e ver algo assim, a corna da MAPPA claramente tava investindo mais no filme do Chainsaw Man, porque Versalhes parece mais uma produção feita pra TV.

  O filme é um músical, as músicas em si são boas? Sim. Eu odeio como as músicas são usadas pra rushar a história? Também!

  Eu sei que o design do Alain nesse filme é baseado no do mangá original ao invés do anime, mas honestamente prefiro o design do anime, prefiro o general da guarda francesa sendo uma parede de músculos do que um twink. Aliás, que luta buxa entre ele e a Oscar né? No mangá é muito boa, no anime ela é FODA! Com a Oscar e o Alain lutando no meio da chuva. No filme? Ela é bem fodasse.

  Porque que esse filme é tão alérgico a cenas dramáticas? 90% das cenas se passam no meio do dia, sem nenhuma variação, porra bicho é tão difícil fazer uma cena de noite? Fazer uma cena que se passa na chuva? A batalha da Bastilha sendo retratada como só mais uma cena genérica com animação dura e aquele filtro moderno de anime é deprimente....

  Aproveitar pra falar da dublagem brasileira: Não vi o filme dublado, mas sei que ninguém do elenco original retornou, mesmo a dublagem do filme também ter sido feita em São Paulo, o elenco parece bom, os dubladores dos protagonistas já dublam faz décadas, deve ter saído um trabalho bacana. O maior problema é que pelo que vi, não dublaram as músicas, dublar um musical sem dublar as músicas é certamente uma escolha já feita...

  Namoral cara, esse filme é feito pra quem? A pessoa que não conhece Versalhes vai estar cagando pros personagens porque o filme explora eles de maneira super rasa e a maioria das cenas impactantes foram cortadas e/ou simplificadas, e a pessoa que ama o anime original vai odiar o filme pelas infinitas razões que já citei antes.

  Posso ficar o dia inteiro ficar reclamando sobre cada frame desse filme, sobre cada personagem que cortaram, sobre cada evento que perdeu completamente o impacto da história original, mas cansei, já cheguei ao limite de caracteres necessários pra publicar uma review no Anilist, por isso vou finalizar essa review citando os únicos pontos positivos desse filme:

  -Miyuki Sawashiro é MARAVLHOSA na Oscar.
  -As músicas em si são boas, mesmo com os problemas que citei antes.

  E o mais importante:
  -Esse filme me fez lembrar o porque da série original ser tão boa em primeiro lugar.

  Vai se fuder, Rushado de Versalhes

  Continue on AniList
• 

  CanusAntonius

  25/100
  Lady Oscar's triumphant return to the empty rose garden.

  One of the most endearing and emotional stories of all time returns to the modern screen, here to honor the 50th anniversary of its original publication. For many appreciators of the original, or its absolute triumph of an anime adaptation, it was one of the most exciting announcements in a while. Then the worry came to them, could they truly adapt a decently long and well cherished work into a single movie?

  They could not, the result is a bastardization of the source that surprised even negative expectations. It's the Rose of Versailles, and the rose has wilted.

  ---

  I'll start with the few positives that are rather enjoyable to a degree. The animation quality is pretty enjoyable, it's certainly obvious Mappa did not want to drop the ball on that element. Occasionally there's also a pretty decent song playing as well, though it actually lends into an issue to be mentioned later. Besides this, at the end of the day it's still rather nice to finally see Oscar Francois De Jarjayes again, even if it might be truly for the last time; hopefully this movie may inspire others to watch the anime or read the original source manga.

  The negatives are compounding and lengthy enough that certain French citizens might be incited to cause a rebellion. The most egregious of the lot is cutting characters from the plot, including main characters! Rosalie and Jeanne who are meant to serve as the citizen's viewpoint of the country are completely removed from the story, with the former being shown for a few seconds as a cameo. When you're watching be sure to look for a young peasant girl with blonde hair, that's Rosalie from the incredibly niche manga The Rose of Versailles! Another major player completely cut from the film aside from a single still shot in a musical time skip sequence is Madam Du Barry, the individual responsible for showcasing Antionette's sin of pride. Her entire arc is just removed, completely egregious.

  As expected some parts are excluded from the story, those unfortunately being some of the most important. The diamond necklace affair is one of the most notable scandals in all of French noble history, and here it's also downgraded to a single still shot within a musical time skip. If you had any interest in the affairs Jeanne or Rosalie got to then don't worry you're welcome to skip the movie, it's all completely removed. And if you were really hoping to see the climatic affairs of the Estates-General on the big screen you'll be deeply disappointed by their exclusion.

  The characters that do exist are only a shallow form of their source, mostly highlighted by some of the missing arcs they were supposed to go through. Antionette is the worst off, we see hardly any of her development as the Dauphine nor her fall from grace during her years as Queen. In fact, after Oscar refuses to rejoin the royal guard, we don't even see Antionette again at all for the entire movie aside from a still during the credits sequence! Fersen is actually more tolerable in this movie, an aspect that goes against his character in a way since he's actually supposed to make a reappearance later on. I'll also mention here that his disappearance made no sense, where the hell did the letter that ratted him and Antionette come from? It's never said. Oscar of course is still the best character of the set, but missing quite a lot of her development that often stems from the whole "gendernomics" issue she has because of her dad. The latter is actually the most chill and reasonable person in the show who just easily buckles under her refusal to marriage, it's like a completely different character from the professional hard-ass who messes up her life due to his own selfishness. Andre's still awesome for the most part, and still by far way hotter than Fersen, but having half the movie basically treat him as a background character was rather shameful and hardly builds up to the final relationship between him and Oscar.

  The last things to complain about reflects on the delivery of the movie itself. I really don't get why the music has such a massively different tone than what the manga feels like, the anime was certainly nothing like it either. This almost feels like a Disney musical at some points, and the genre of music used is very inconsistent as well from emotional pieces to a pop boy band to even a shonen style fight song. Another issue is how the movie constantly uses montages that either lead to timeskips over important parts of the manga, or flashbacks to mere minutes ago in the movie. There's also quite a lot of symbolism that feels incredibly out of place, all the Greek mythology elements feel shoe horned in rather than having a proper meaning. There's also a song literally for Andre having sex with Oscar, it's a bit goofy but I can atleast respect Andre finally getting something good for once in his life after being screwed over forever.

  Overall, I'm just thoroughly disappointed, and maybe forming such opinions based on comparison to the source and an old show are unfair in some eyes but I truly cannot recommend this movie when those exist. The Rose of Versailles should be a monument to history, love, class struggles, gender roles, political affairs, court dramas, beauty and revolution. Instead it's a monument to what could have been, and sadly will probably be remembered by future generations as the new way to watch Lady Oscar.

  Please watch the original Rose of Versailles.

  Continue on AniList
• 

  asphodelic

  30/100
  The Fundamentals of a Musical

  [This is an extensive treatise of musical theatre history and storytelling through music, in order to explain why this film is a poor musical. If that is of no interest to you, please do not read this. Seriously.]

  “What the hell are musicals?”
  “It appears to be a play where the dialogue stops and the plot is conveyed through song.” [1]

  Musical theatre is an art form often defined by ‘people spontaneously bursting into song and dance.’ “Spontaneous” is an unfortunate misconception, as musical storytelling is much more deliberate than it can appear. There’s an old adage in musical theatre: “When you’re too emotional to speak, you sing. And when you're too emotional to sing, you dance.”

  Songs are sung for a reason. They occur at the most heightened and passionate emotional moments of the story—vows of love, declarations of dreams [2], oaths of revenge, utter despair, making difficult decisions, self discovery and celebration of one’s self [3]. These feelings are relatable and powerful, functioning as the engines behind a medium that is inherently character driven. But a musical theatre song needs to do more than just express emotions.

  In the 1940s, songwriter and lyricist duo Richard Rodgers and Oscar Hammerstein II [4] revolutionized musical storytelling. With very few exceptions [5], most musicals up until then had been frivolous and lighthearted. The narratives weren't a priority, and the song and dance numbers put the stories on pause, rather than advance them. Rodgers and Hammerstein decided to actually make the songs integral to their shows, and in 1943, Oklahoma! forever changed the way musicals were written. The late, great Howard Ashman (lyricist for Disney’s The Little Mermaid, Beauty & the Beast, and Little Shop of Horrors) explained this principle best:

  “Music[…]is information. It’s a way to get character and plot information across. […]you want it to develop story or character in some way so the song will carry its own weight so it can justify its existence.” [6a]

  “If you can take a song and you can remove it from the script and the script still makes sense, you haven't done your job properly.” [6b]

  Rose of Versailles (2025) lacks this fundamental understanding. From the start, its opening song, 'May Our Souls Bloom in Love' functions more as a theme song, choosing to rely on an unseen and omniscient narrator to convey the setting and information throughout the whole film. Barring the song used in the ending credits, Rose of Versailles (2025) has fourteen songs. All fall under one of two categories:

  1. Background music where the characters are not depicted singing to anyone. Instead they are engaged in montage of some kind, usually with symbolic imagery (‘Ma Vie en Rose,’ ‘Believe in My Way,’ ‘Child of Mars’)
  2. Background music where the characters stay in reality, but are still not actually depicted singing (‘Never Surrender,’ ‘Enchanting Masquerade’)

  The problem with the first category is that they completely put the story on pause. Those songs often start playing after the characters make their declarations, making them redundant. (‘Child of Mars’ is particularly guilty of this, as Oscar makes her decision before she starts singing. Songs are supposed to process emotions, not validate them.) Those in the second category do not interfere with the narrative or pacing, but are still reduced to nothing but anime insert songs. Unfortunately, there is another issue plaguing the songs: they’re not diegetic.

  The definition of ‘diegetic’ is: happening within or being the created world of a story. Or in simpler terms, the music is actually being sung and heard by those in the film. Instead of having the characters actually sing to each other, montage or no, it opts for the Disney’s Tarzan approach [7] of having the singing offscreen—a fundamentally weaker musical decision. Songs in musicals are meant to be sung by the characters either to other characters or to the audience. Robbing them of that agency is a terrible thing to do.

  The only exception, the only song in the whole film that is wholly diegetic is ‘Anger and pain,’ sung by Bernard and the Parisian commoners. It is the film’s ‘Do You Hear the People Sing?’ [8] moment, even using the motif from the opening song—perhaps the only true thoughtful and deliberate use of music. Other things the film didn’t seem to think about:

  • The vast majority of the songs are solos, and most of them are incredibly short. Again, those kinds of songs cannot pull their weight.
  • There's no musical cohesion. These songs don't sound like they all come from the same film.
  • Oscar and Marie never sing together [9], and Marie is nearly completely forgotten in the last third of the film.
  • The most emotional moments in the film were the ones not set to music. Oscar presenting as feminine for the first time, André’s injury and deteriorating sight, Marie’s infidelity exposed, those are some of the scenes that should’ve been sung.

  All of this to say that the cornerstones of musical storytelling just aren’t here. (‘Ma Vie En Rose’ and ‘Anger and pain’ are the songs closest to functioning properly, but they still fall short.) Sawano Hiroyuki and Yamamoto Kohta have years of experience, both having composed for dozens of anime. But being a composer and understanding musical theatre are completely different skills [10]. Rather than a musical, it sounds more like a bland anisong concept album that was inspired by Rose of Versailles.

  This film was not obligated to be the greatest iteration of Rose of Versailles. It was not obligated to be the greatest musical. But as a musical, it was obligated to tell its story through music. Rose of Versailles (2025) does not need the songs in order to tell its story. They're just pretty distractions and detract from the characters, content to play it safe in shallow emotions. All but one of the songs can be skipped and nothing would be missed. For a musical, that is nothing short of complete and utter failure.

  ---

  [1] The opening lyrics from ‘A Musical’ from Something Rotten! (2015)
  [2] Commonly referred to as “I Want” songs. ('Part of Your World,' 'Almost There,' 'The Wizard & I')
  [3] Commonly referred to as “I Am” songs. ('Gaston,' 'I Am Moana,' 'Meet the Plastics')
  [4] Richard Rodgers & Oscar Hammerstein II were songwriting partners, initiating and championing the Golden Age of musical theatre, which lasted from the 1940s through the late 1950s. Aside from Oklahoma!, they are known for shows such as The Sound of Music, The King & I, South Pacific, Carousel, and Cinderella.
  [5] Show Boat (1927) is the first musical to be credited with telling a story about serious topics with emotional weight.
  [6a, 6b] Quotes taken from this interview. Howard Ashman and Alan Menken are the progenitors of the Disney Renaissance. Beginning with The Little Mermaid in 1989, the film single-handedly saved the Disney company from bankruptcy.
  [7] Disney’s Tarzan has only two moments of diegetic music: Kala singing the beginning of ‘You’ll Be in My Heart,’ and ‘Trashin’ the Camp.’ The rest of the songs are sung by an omniscient Phil Collins who represents Tarzan. So at least Rose of Versailles (2025) actually has the voice actors singing for their characters.
  [8] ‘Do You Hear the People Sing?’ is one of the most identifiable songs from Les Misérables.
  [9] This seems to be a recurring trait among the takarazuka musical adaptations, as most of them focus on either Marie and Fersen, or Oscar and André.
  [10] The other prime example of talented songwriters not understanding musical theatre storytelling is Disney’s Wish. (Wish at the very least still manages to function as a musical, as the songs are both diegetic, and are integral to the story.)

  Continue on AniList

SIMILAR ANIMES YOU MAY LIKE

• MOVIE

  ActionBishoujo Senshi Sailor Moon: Cosmos - Zenpen
• MOVIE

  ActionBishoujo Senshi Sailor Moon: Cosmos - Kouhen
• ONA

  ActionBishoujo Senshi Sailor Moon: Crystal
• ANIME

  DramaParis no Isabelle
• ANIME

  DramaShoujo Kakumei Utena
• ANIME

  ActionRibbon no Kishi
• ANIME

  DramaArte
• ANIME

  ActionKaizoku Oujo
• ANIME

  DramaKusuriya no Hitorigoto