When the huge gears of history keep moving forward

Cole 2022-11-22 11:15:25

The film maintains a depressing tone from beginning to end, and the rhythm of the story unfolds very slowly, even a little dull.

Historical changes and changes in times have always required a huge price, ranging from property to family and even one's own life. John's keen and first-of-its-kind thinking allowed him to show off his political talents, and ultimately sent him to the guillotine. I can't judge how much the queen and his love play in this story, maybe it's just a more conspicuous embellishment, and the core of the story is still the difficulty of the revolution. Because of such an incompetent monarch, countless people coveted his right to his throne, including his own mother. Unlike John, the political group headed by Julianne is not worried about the future and destiny of the country, but more about the satisfaction of returning to the old days of holding power. The sweetness of power is an addiction that politicians cannot quit (or is not limited to politicians), so there are people from all walks of life trying to get more. On this road, turning one's face is like turning over a book, just like the weather is sunny and raining, just like Lan Zao believes that they will not kill John but deport them, and in the end this used pawn just ends up being abandoned.

What was the doctor's tears on the guillotine for? Is it for the historical gears of this country that seem to be moving forward and going backwards, for the promise that the king can't keep, or for Caroline and the infant Louise. By the end of the film, the queen's pair of sons and daughters have grown up, and the crown prince has staged a coup d'etat, regaining power with the help of his father and reinstating most of the decrees made by doctors. I think this is the greatest consolation to the doctor.

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Extended Reading

A Royal Affair quotes

  • Johann Friedrich Struensee: Your majesty.

    Caroline Mathilde: You recognized me.

    Johann Friedrich Struensee: I would recognize you blindfolded.

    Caroline Mathilde: But your costume is not very imaginative.

    Johann Friedrich Struensee: I'm afraid I'm not very good at the masquerade.

    Caroline Mathilde: I believe this is the one night when everyone can be themselves.

    [pause]

    Caroline Mathilde: But you never remove your mask. Do you?

  • Johann Friedrich Struensee: Do you remember our first night together?

    Caroline Mathilde: It feels like we've been unhappy ever since.

    Johann Friedrich Struensee: I have been happy.

    Caroline Mathilde: Come to me tonight?