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Ever since the novel on which it is based, Vonda McIntyre’s novel The Moon and the Sun, was published in 1997, there has been talk of “The King’s Daughter” becoming a possible project (winning the Nebula over a little-known book called Game of Thrones). It’s not difficult to see why this story would be so appealing to so many people. With a strong female central character, the novel weaves together historical fact and supernatural fantasy, with the Versailles court of Louis XIV, the “Sun King,” serving as the backdrop. In addition to Disney, Jim Henson Pictures expressed an interest in the story. At one point during the early 2000s, Natalie Portman was attached to the project. Despite the fact that the property was constantly changing hands, none of it came to fruition. Because “The King’s Daughter,” directed by Sean McNamara and released on this day in the year 2022, was actually shot in 2014 and was originally scheduled for a 2015 release, this background information is only relevant to the film. To refer to this as a “new release” is to stretch the truth beyond recognition.
Over the last seven years, what exactly has been going on? What was the reason for the long delay in releasing this film? There was a massive infusion of cash late in the game to improve the special effects, which resulted in a grotesque 40 million budget. Perhaps this contributed to some of the snags, but not all of them. Furthermore, the special effects aren’t particularly innovative or eye-catching, and in some cases, they appear to be shockingly amateurish in their execution. The money has disappeared from the screen, regardless of where it was spent. I have no idea what happened here, and you can only squint at Hollywood Reporter articles for so long before you wish there was an anonymous source who could give you the inside scoop. After seven years of waiting, “The King’s Daughter” has finally arrived, and she must be dealt with in the proper manner.
Featuring a narration by Julie Andrews, the film’s fairy-tale “Once upon a time” opening shows Marie-Josephe (Kaya Scodelario), the illegitimate daughter of the Sun King, enjoying herself in the sea while the nuns at the convent where Marie-Josephe has been hidden stand on the beach ordering her to get out of the water. Marie-Joseph is completely unaware that her father is the monarch. She is also a cellist who, according to reports, is a genius. While this is going on, at Versailles, following a failed assassination attempt on his life, King Louis XIV (Pierce Brosnan) follows the advice of an unscrupulous “doctor” named Labarthe (Pablo Schreiber), who advises sending an expedition to find the lost city of Atlantis, capture and transport a mermaid, and sacrifice her during the upcoming lunar eclipse. According to Labarthe, this will grant Louis the gift of immortality. At the same time, Louis arranges for his long-lost daughter to be brought to the courtroom by his attorney.
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Marie-Josephe and the mermaid (Fan Bingbing) arrive at Versailles at the same time and form an unbreakable telepathic connection. Marie-Josephe is assigned a lady-in-waiting, Magali (Crystal Clarke), and the two quickly become fast friends, although it is not clear why this is the case. However, in the novel, this relationship is far more complicated.) With the help of Jean-Michel Lintillac (Ben Lloyd-Hughes), the handsome sea captain who brought the mermaid back to court, Marie finds an unexpected ally in the courtroom. Jean-Michel, Marie-Josephe, and the mermaid all share a common desire: they all want to be free.
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This story has a great deal of dramatic potential, but it wastes it all by being too wordy. There is little consideration given to visual coherence or narrative clarity when scenes are thrown together. During the film’s extensive time spent in the mermaid’s underground cave at Versailles, Jean-Michel mentions a “gate,” and when he does, we are treated to an unexpected quick shot of a gate, one that we have never seen before in the film. It’s not clear whether the gate is actually located at the specified location or if it is located somewhere else. In this case, the “It’s almost as if you can hear the panicked whispers at some point during the last seven years: “Oops, he’s mentioned the gate, but how will they know what he’s talking about?” I don’t care where you put it, just put it in!” There are numerous examples of this.
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In another scene, Marie-Josephe climbs out of her window, deceiving the guards who have been stationed outside her window. The view of her window from the outside is already familiar to us, as it is perched on a slanted roof. She leaps over the ledge, and the next thing we know, she’s sprinting across the lawn to get to us. The film does not address the question of “how in the world did she slide down a vertical stone wall?” Versailles was used as a location for some of the sequences, which do not elicit any interest, not even on a visual level. This is no small accomplishment!
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The costumes are a mishmash of different styles, but they lack any sense of direction. Although the men are decked out in pirate shirts and velvet vests, the women look like a mash-up of “Dynasty,” “Knot’s Landing,” and preening social media stars, which is a nod to the era in which they are dressed. This is not a complaint about anachronisms in the modern world. It’s a complaint about the incoherence of the argument. For the viewer, everything onscreen serves as information; however, what exactly is being conveyed is unclear. Why is Marie-Josephe dressed in a revealing strapless gown that looks like it belongs on a soap opera from 1987 or a music video from 1984, and why is she wearing it? Because her dress has an hourglass (mermaid) shape, it seems to be a nod to her fascination with the fantastical creature she is depicted as having a connection to. Make it make logical and logical sense.
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The film “The King’s Daughter” has been rated PG. But who is it intended for in the first place? Basic questions such as “who is this for?” do not appear to have been asked at any point during the game’s development, and panicked “tweaking” rendered the rest of the experience incomprehensible. That Vonda McIntyre’s book deserved far better treatment than this would be an understatement of the magnitude of the error.
The film is currently showing in theaters.
For more personality quizzes check this: Nightmare Alley Quiz.
