Maria Antoinette As a first time viewer of Sofia Coppola's third motion picture Marie Antoinette, it was intriguing to look at her interpretation of the period and characterization of the young Marie Antoinette. I can see where is would be troubling for some viewers when sometimes the film comes across all wrong because of the use of popular music, or out of time props and accents. This is the case with Maria Antoinette, however, when we take a step back and look at the film for what it is; the perception can be quite different. The difference is by using these modern elements in this late 18th century world completely works for the story and purpose of Marie Antoinette. This film is all about a 15 year old Austrian princess that is sold off to the Dauphin of France Louis XVI; a young teen who is given immense amounts of money, which allows her, to live a wonderfully lavish life in the confined area of Versailles. This films purpose is not to be informative or give details into the politics of the time but instead gives the audience a glimpse into this young girls world. Kristen Dunst, who plays Marie Antoinette, gives off the appearance and mannerisms of a young foreign girl that is put into a both powerful and judgmental position in the French court. Coppola allows the audience to take a look at the whole package of this teenage girl. This can be seen in the colors, music, clothing, shoes, parties, overall carefree and youthful tone throughout the majority of this film. The use of modern music as the soundtrack was especially unique tool to use when sharing a story about Marie Antoinette. This is not the first film that has taking this well-known story of the last queen of France and turned it into a motion picture. This is the first to steer away from the usual instrumental scores and use of period music. In fact, it is interesting to compare the contrast of the types of scenes in which the different types of music are used. The classical pieces are used during the film when there are definite lulls in the action. For instance the melancholy scores that are heard when Marie Antoinette his riding in her carriage to the Austria/France boarder. This use of classical music emphasizes Marie's feeling toward both the long journey and the circumstances of her situation. The music portrays Marie Antoinette's daily morning routine as extravagance and unnecessary. The tedious manner of French customs become apparent to both Marie Antoinette, and the audience once again like in prior scenes. These types of music can then be compared to the modern music that is paired the scenes that are all about the fun of youth. The scene where Marie and her ladies sneak into a masquerade ball and dance around like teenagers is accompanied "Hong Kong Garden  by Siouxsie & The Banshees' or in the huge shopping spree scene where they all are indulging in champagne shower and pastries that are accompanied by the Bow Wow Wow's version of "I Want Candy". This can be seen as Coppola's reason for adding the modern soundtrack to a film with historical figures that lived well over 200 years ago. The use of this modern soundtrack compared to the classical one is to bring Marie Antoinette's world to the minds of the 21st century. It not only makes her relatable but understandable. No Country For Old Men In No Country for Old Men, there are longer scenes in the film that feature no dialogue or no noise of any kind except for the natural sounds coming from the dry lands of Texas. In cases where t