When Richie went to Paris to star as Louis XVI
in a new film about the French Revolution, he
had every reason to expect adulation and con-
trol of the final picture. He had, after all, been
a Hollywood star for decades. He was known
throughout the world for his romantic leading
roles, played with charm and elegance and the
best English high-style. Even in his fifties he was
the actor women swooned over, the man with
the come-hither smile, "The King."
And besides, his co-stars were Kate, his wife,
who would play Louis s mistress, and their close
friend, Annie Logan, cast as Marie Antoinette.
There was no doubt whom they would look to
for authority, was there?
And then Sigler arrives: Doug Sigler, the direc-
tor, a savage young new-wave filmmaker who
believes in total realism in his movies and total
command on his sets. The company holds its
breath waiting for the explosion that is sure to
come--and they are not disappointed. But even
they cannot predict the ferocity of the war that is
about to erupt.
And meanwhile the film rolls on, inexorable,
gathering speed and momentum. The story of
the revolution becomes daily more obsessive for
the actors, and we, too, are drawn into its
power. So real does the King and his entourage
become that almost before we know it, we are
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