is a young woman whose father, a career military man, wanted a boy. After she was born her father took to dressing Oscar in boy's clothes and raising her as a man. Privately Oscar acknowledges her feminine side, she dresses as a man and gains an honored position as a guard of Marie Antoinette. In her youth, Oscar is in love with Andre, the son of the family's housekeeper. Years later, when the French Revolution begins, Oscar and Andre's paths cross for the first time in years. With the assault on the Bastille, Oscar and Andre find themselves fighting on opposite sides of the revolution.
Cast
Production
The major sponsor of the film was Shiseido, a cosmetics company, and Catriona McColl promoted a red lipstick for the spring cosmetic line that year. Frederik L. Schodt and Jared Cook translated the entire manga series into English as a reference for the producers of this film, but gave the only copy of the translation to them and it was lost. The production was based at Auditel Studios in Paris, with filming locations including Jossigny, Senlis, and the Palace of Versailles.
Reception
The film was not a commercial success, and MacColl's portrayal of Oscar, in particular, was criticized; it was felt by some critics that she was not androgynous enough to play Oscar. On Midnight Eye, Jasper Sharp says the film "is one of those works that is so compellingly awful that entire dissertations could be written about what exactly went wrong." Anne Duggan chooses to view Lady Oscar within the context of Demy's other films. Duggan describes Ikeda's Oscar as having "much more self-knowledge" than the Oscar of the film, describing Demy's Oscar as being "in denial about sexual and class issues". Duggan feels that if agency is taken away from Oscar, it is given to lower-class characters in the film, in particular Andre. Variety described the film as recalling early Hollywood epics, and praised Catriona McColl's depiction of Oscar as a "woman waiting to burst out of a man's clothing". Kevin Thomas, writing for the Los Angeles Times, described the film as a typical Jacques Demy film, noting its preoccupation with contrasting the lives of the aristocrats and the lives of the poor.
