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There is a purity, a sublime essence in “Marguerite” that is sensationally unique; an unlikely heroine, both tragic and admirable, a Diva whose talents lie in the bastardization of every iconic aria created by the masters of music; Mozart, flayed, her favorite, unworthy victim. Catherine Frot is magnificent as “Marguerite”, a Countess of formidable means in 1920, Paris; her screeching, howling concerts cater to sycophants whose underlying greed and wicked mendaciousness encourage her copious continuance of horrific, tone-deaf displays of misguided passion.

Writer/Director Xavier Giannoli’s (with writer Marcia Romano) and Ms. Frot bestow upon, this supposed true tale, a genuineness, profoundly, sincerely moving; without guile or duplicity, Marguerite with her graceful elegance, goodness, inimitable kindness, transcends the naysayers, winning their admiration and iron-clad support, shielding her from the cruelty of scathing reviews: “Madelbols”, her fiercely protective butler (frightening, wonderful Denis Mpunga) blackmails a tenor “Atos Pezzini” (virtuoso perfection,  Michel Fau), whose fame has eroded, to train Marguerite for her major concert; their scenes infuse hilarity, poignancy, sensitivity and camouflaged candidness to the scenario; “Lucien” a cynical critic (awesomely beautiful Slyvain Dieuaide) self-medicates to avoid the fearful outcome of what he has set in motion;  “Hazel” (lovely Christa Theret) a gifted opera singer, truly suffers for the delusional Marguerite; “Georges” an unfaithful cad of a mate (subtle, skilled depiction by Andre Marcon) has lived for years, enduring relentless, braying barrages on his audio sensitivities; despite his cruelty, her naively warped soul loves him unequivocally.

“Marguerite” is a charming, compelling, cacophonous feat, “a thing of beauty”, “a joy forever”.



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