Angélique (Michèle Mercier) roars back to life in this lively third installment in the five-film series, which sees her becoming a crucial instrument in the affairs of Louis XIV, and thus the subject of much palace intrigue. When Angelique accepts a diplomatic assignment to the Persian ambassador Bachtiary-Bey (Sami Frey), she’s rewarded with Peyrac’s estate — now she has two manors — but ends up as a kind of political prisoner, the captive of Bachtiary-Bey, who intends to rape and perhaps murder her. Rescued in the nick of time (by a Hungarian prince!), she returns to the king’s court, where she’s regarded with dismay by the king’s wife and actively scorned by the king’s current mistress, who senses impending obsolescence. The second half of the film is the most brashly inventive part of the series so far, including one recurring character’s death, another’s return from the grave, multiple attempts on Angélique’s life, and even a black mass.
Wonderful Angélique
This is a real comedown after the first film in the series, which ended with Angelique de Peyrac enduring an abrupt fall from grace and apparently aligning herself with the Parisian underworld, bent on vengeance. Wonderful Angélique, however, turns out to be a much more straightforward romantic melodrama, showing Angelique as a status-driven career woman and serial monogamist who pulls herself out of poverty as an entrepreneurial restaurateur and hitches herself to royalty by marrying her cousin, Philippe de Plessis-Bellieres (Claude Giraud). She starts the film in thrall to her old sweetheart Nicolas (Giuliano Gemma), eventually falls for the anti-authoritatarian provocateur known as the “dirty poet” (Jean-Louis Trintignant) — the kind of charming rogue who introduces himself by groping your breasts while you sleep — and finally settles for Philippe. There’s a callback to the assassination plot from the first film, but the storyline feels much more middle-of-the-road-historical-romance this time around and the sense of rollicking, slightly bawdy fun has been diminished. Angélique’s wardrobe is still an enticingly fabulous manifestation of costume drama and the whole thing is lovely to look at but somehow the woman herself seems to have lost a stake in the story as appealingly fierce edge of Michéle Mercier’s performance has been dulled. A disappointment.