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Lady Oscar 1979
Description: Oscar François de Jarjayes was born female, but her father insisted she be raised as a man as he had no sons. She becomes the captain of the guards at Versailles under Lord Louis XVI and Marie Antonette. Her privileged, noble life comes under fire as she discovers the difficult life of the terrible folks of France. She is caught up in the French Revolution, and gotta select between her loyalty and love.
Released: 03 Mar 1979 Director: Jacques Demy Writers: Jacques Demy (screenplay), Patricia Louisianna Knop (screenplay), Jacques Demy (adaptation), Patricia Louisianna Knop (adaptation), Riyoko Ikeda (manga: Versailles no bara/La Rose de Versailles) Actors: Catriona MacColl, Barry Stokes, Christine Böhm, Jonas Bergström Genres: Drama, History, Romance
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See Lady Oscar le film:- Partie 8 on youtube.

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See Lady Oscar le film:- Partie 1 on youtube.

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See The Rose of Versailles/ Lady O on youtube.

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See Lady Oscar Original Trailer on youtube.

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See Lady Oscar Full'M.o.v.i.e'1979 on youtube.

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See muerte de Lady oscar y Andre on youtube.

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See Lady Oscar Movie Part 12 Esp on youtube.

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Lady Oscar Reviews:

I've finally had the possibility to watch Jaques Demy's film - Lady Oscar. I waited so long to see it and i place so much enthusiasm on it that i almost can't bear the disappointment. As a large fanatic of Ryoko Ikeda, of "Berusaiyu no bara" and of the Japanese musical ver of it, i have to confess: the film HURT! The acting is so bad, the storyline is so cut, no fluidity between scenes ... and the end ... oh, that is really painful!!! Oscar is too pretty ... no! better said: "sweet"... but OK. Marie Antoinette too stupid! Fersen .. where is Fersen??? So tiny appearance that i forgot he existed. Girodelle .. oh! ... disgusting! And was that brown haired woman really Rosalie? I think it was the opposite of her. The only hero i can't comment on it, is Andre. He was (especially on the first part of the movie) ... he was Andree. He was human, true and acted well .. Pity he ended so stupid ... Everything in this film have no meaning ... and some scenes are just ridiculous.


As had been the situation with Christian-Jaque's THE BLACK TULIP (1964), this is other French swashbuckler whom I first became aware of via the Japanese animated series I used to catch on Italian TV as a kid. Conversely, the movie ver of LADY Oscar proved to be more satisfying than that of THE BLACK TULIP, which is surprising given that the former is a maligned movie within its distinguished director's canon. Having told that, along with his modernistic makeover of Jean Cocteau's OPRHEE' (1950) entitled PARKING (1985), LADY Oscar had everytime been the one game I was most eager to catch from Demy's lean and near-invisible post-1973 period. It is ironic therefore that I have managed that feat before having acquainted myself with Demy's best-known and finest achievements of the early 1960s – which is all the more remarkable when one considers that LADY Oscar was a bastard international production: a Franco-Japanese joint venture shot in English with a cast of equally mixed nationalities and whose tangled worldwide distribution rights have made it impossible for even the British Movie Institute to safe a screening in their renowned National Movie Theatre in London for a 'complete' Jacques Demy retrospective in November 2007! Therefore, all the more power to Yamato Video, the Italian DVD production company who specializes in releasing vintage Japanese anime series (that were all the rage on Italian TV as I was growing up in the 1980s and early 1990s) for succeeding where others have failed; a gallery of trailers from their catalogue is accessible as a supplement on the LADY Oscar disc and watching it was "a blast from the past" for me as the telling goes! Anyhow, back to the movie at hand: the fairy-tale qualities of the historical narrative are ideal hunting grounds for Demy, who had already brought DONKEY SKIN (1970) and THE PIED PIPER (1972) to the screen – although, in this case, he drew inspiration from a Japanese comic strip rather than a local legend (albeit set in his native land). Needless to say, the movie is a feast for the eyes when it comes to sets (some of the exteriors were now shot on the Versailles Palace grounds) and costumes but, even if the work of Demy here seems not be counted among his finest achievements, a couple of elegantly sweeping camera movements (the clandestine meeting in the abandoned château between Queen Marie Antoinette and her Swedish lover) and well-mounted sequences (the vigorous fist-fight in the tavern) are certainly noteworthy; the same applies to the musical contribution of Demy's regular composer Michel Legrand. If there are distinct flaws, it's that the movie moves at rather too deliberate a pace (with a running time of just over two hours) and has a needlessly unhappy ending.In spite of the title, the narrative incorporates three parallel storyline lines that give a more sweeping picture of the tumultuous times it depicts (starting out in 1755 with the birth of Oscar and culminating in the storming of the Bastille that led directly to the French Revolution of 1789): Oscar's father had long wanted a male heir to follow him into his military career and when his wife dies in giving birth to yet other female, he determines to create a boy of his newborn kid regardless; while Oscar is eventually recruited as private guard to Marie Antoinette, we follow the amorous exploits of the latter as well as the rise of one female peasant into aristocracy through devious schemes and callous behavior to her real peers (perhaps in emulation of the notorious Madame Dubarry whose name is mentioned at one point). In view of its origins as light-hearted kiddie fare, there is a surprisingly subversive undercurrent of sexual ambiguity in Oscar's imposed masculinity (and the fact that this begins a cross-dressing fad among the upper classes), the repressed feelings for her shown by the stable man she grew up with, the full-blown kiss on the lips Oscar gives during her own supposed engagement party to a giggling young lady she's dancing with, etc.Catriona MacColl looks just ravishing in the game role, both when dressed in her military outfit and also when she occasionally gives in to her womanhood (including a brief topless bit); this was her first movie and arguably her greatest role since only other appearance for Demy and three in Lucio Fulci horror movies – including CITY OF THE LIVING DEAD (1980) for which she even recorded an exclusive audio commentary for its R2 DVD! – really stick out from the rest of her filmography. Other beguiling presence in the movie is undoubtedly that of Christine Bohm who plays Marie Antoinette; unlike MacColl (despite their being the same age), LADY Oscar proved to be her last movie as she tragically died at 25 in an accident that same year. As for the male cast, the most prominent are Barry Stokes (as Oscar's stable man companion and real love) and Martin Potter (as her jaded, titled but short-lived fiancé); incidentally, while they both had their artistic triumphs for major directors – in Juan Antonio Bardem's THE CORRUPTION OF CHRIS MILLER (1973) and Federico Fellini's FELLINI - SATYRICON (1969) – they every also worked for cultish British exploitation film-maker Norman J. Warren in, respectively, PREY (1978) and SATAN'S SLAVE (1976)!! P.S. My amiably lazy feline pet goes by the name of "Lady Oscar": I had originally dubbed it Oskar – in tribute to one of my favourite foreign movies THE TIN DRUM (1979) because, like its protagonist, my cat seems to have stopped growing of its own accord (while that of my aunt, which is of a related breed and only a year or so older, has become quite huge!); my mother, unaware of this connection, insists on calling her "Lady" because, first of all, it's a female and, frankly, really does act royally and has the genuine impression that we're there to wait on it!!


I love the Rose of Versailles (Lady Oscar in West) original comics and was a pleasure to watch this movie. However it's important to tell it's just for fans. When you previously know the characters and wish to receive in touch with an alternative mission of view, it's OK, but if you take Lady Oscar as a film about the French Revolution's or a cross dresser heroine, you probably would feel disappointed. The work was not as nice as it would be; some actors and actresses were not well chosen; main happenings were forgotten; and Oscar's private drama lost force. But as I said, I liked it a little, because any Lady Oscar's product would attract me.



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