Of all the ludicrous things written about Sofia Coppola’s beguiling “Marie Antoinette” upon its theatrical release 20 years ago (and after being booed at its Cannes premiere, there were so frighteningly many), the most absurd is the hand-wringing over its anachronistic soundtrack. Coppola filled the film tip-to-couture-heeled-toe with songs from ’80s punk and new wave groups, creating a throughline between her own teenage preoccupations and the adolescent Queen of France’s frivolities.
Looking back now, the decision is even more inspired than it was then: a bold, personal choice that helped Coppola’s film stand out from the otherwise stuffy welcome it was bound to receive. This was not, after all, your conventional period piece. Coppola was granted unprecedented access to film in and around the grounds of the Palace of Versailles. But beyond the exclusive entrée, Coppola — only on her third feature, but already known for her affinity for youth culture — would bring Marie Antoinette a jouissance the history books had never afforded her.
