Here is an interesting translation choice from the English edition of the manga.
Fersen speaks about the agony of his impossible love for the queen, telling Oscar, “Even though I love her so much!” His words echo in the final panel—but this time, Oscar joins him, saying to herself, “Even though I love him so much!” She, too, knows the pain of loving someone when those feelings can never be returned. This is the first time she admits to herself that she is in love with Fersen.
In the Japanese edition, Fersen’s final line is repeated exactly (though more slowly and with hesitation). Grammatically, the sentence doesn’t change depending on whether the speaker is referring to a man or a woman, since no pronoun is required. A more literal—but less effective—translation might be something like: “Even though I am so much in love (with her/him)…”
All of this is to say that, in the Japanese edition, we can’t be entirely sure whether Oscar is consciously echoing Fersen’s words to herself, or whether his words are simply reverberating in her mind... In other words, there might be an admission of love there or not at all.
My Japanese isn’t strong enough to definitively resolve this, and perhaps the answer is obvious to a fluent reader. But if the original does leave room for interpretation, then the English translator has clearly chosen one: that Oscar is echoing Fersen’s words and, in doing so, acknowledging her own feelings.
The only other edition I have on hand is the French one, which doesn’t fully settle the question either.
In ‘Alors que je l’aime tant !’, the pronoun is reduced to l’ before the vowel in aime. Since both le and la pronouns take this form, we can’t tell whether the speaker is referring to a man or a woman. But notice how the final panel is rendered in bold. Hmm...
Personally, I’m inclined to agree with the English translator’s interpretation—if this moment is indeed meant to be ambiguous. Oscar seems to echo Fersen’s words internally, and in doing so, arrives at a quiet admission of love. What supports this reading, for me, is the difference in pacing in the Japanese:
Fersen's line:
「こんなに愛していながら……!!」
"Even though I love her so much...!"
Oscar's line:
「こんな…に…愛していながら……!!」
"Even though… I love… him… so much…!"
The added pauses suggest hesitation, which feels very much in character for Oscar at this point. It reads less like a simple repetition and more like a reluctant realization.
As for the French edition, I wonder if the use of bold in the final panel serves a similar purpose—signaling that the words are no longer Fersen’s alone, but are being taken up, or echoed, by someone else.
In any case, this is a small translation nuance I’ve been thinking about for a while, and I wanted to share it. What do you think? How is this panel handled in other language editions?
A friend of mine brought me The Rose of Versailles Anime Movie Official Visual Artbook (劇場アニメ「ベルサイユのばら」公式ビジュアルアートブック) as a gift from Japan. It’s packed with visual material from the movie—key visuals of characters, official art published in magazines, background art and costume design—as well as interviews with the staff, cast, and Riyoko Ikeda herself. It’s an incredible book, and it made me appreciate even more the sheer amount of work that went into the movie.
While flipping through its pages, one section in particular caught my eye: flowers associated with each of the main characters.
Please see the translated version under the cut.
The flower representing André is the Cherokee rose!
The flower, in the form shown on the page, only appears in the night of July 12th scene.
But, in fact, we do see André with this flower in the opening sequence.
In one of my many rewatches of the movie, I noticed a resemblance between the two flowers—the one in the night of July 12th scene and the one in the opening sequence. And I thought at first that they were dog roses (rosa canina). But I wasn’t entirely sure if they were the same—they appear in very different colors, and they don't have the most distinctive shape—so I told myself I was probably imagining it.
Turns out, I wasn't! There is something deeply satisfying about having that hunch confirmed by the official artbook.
Here is the English translation of this section of the book.
And here are the scenes from the opening sequence with the flowers.
Marie Antoinette appears with Schneewalzer roses; Oscar with Shinsetsu roses; Fersen with dwarf fireweeds; and André with Cherokee roses.
Here we see Marie Antoinette as both a teenager and an adult, holding a bouquet of Gruss an Teplitz roses. Her younger self is surrounded by Avon roses, while her adult self is framed by Schneewalzer roses.
Fersen, surrounded by dwarf fireweeds, holds a single Gruss an Teplitz rose.
Same thing with Oscar: her teenage self is associated with Lady Banks’ roses, and her adult self with Shinsetsu roses. She holds a single petal of the Gruss an Teplitz rose.
I wonder why her teenage self is shown in the red uniform—especially since this image clearly references an illustration by Riyoko Ikeda. And it’s hard not to think of that scene with Girodelle when seeing Oscar lift a rose petal to her lips.
Finally, André appears surrounded by Cherokee roses, reaching for the last petal of the Gruss an Teplitz rose. Notice how his frame is the simplest of all—both here and in the earlier visual—as if to highlight his status as a commoner.
The movie itself features several scenes incorporating these flowers, and I love how these visuals echo the rich floral imagery of the manga.
It's difficult to tell, but in the final shot of the night of July 12th, Oscar’s Shinsetsu roses appear intertwined with André’s Cherokee roses.
As for why these particular flowers were chosen to represent these characters, I don’t have a definitive answer. I did look into their symbolic meanings, but the language of flowers varies widely across cultures—so I’ll refrain from assigning any fixed interpretation.
The scene where Oscar declares to Girodelle that she would never get married is my favourite from the anime movie. The color palette, the animation, the music, the attention to detail like camera angles and location scouting, the whole symbolism with the flowing water… Everything about it is so great that I thought it merited its own appreciation post.
First off, the location… This is exactly where Oscar and Girodelle are standing. They’re in front of the Pyramid Fountain in the North Parterre, overlooking the Water Walk, right above the Nymph’s Bath. According to the official website of the Palace of Versailles, the water from the Pyramid Fountain is collected in the Nymph’s Bath below.
I dug into the depths of my camera roll and unearthed a couple of photos I had taken at the location back in 2016. At golden hour no less…
It feels so strange to watch another adaptation of The Rose of Versailles featuring the exact same place I had taken photos of while thinking of The Rose of Versailles all those years ago…
Okay, back to the scene...
Oscar explains to Girodelle that she would never marry, because André wouldn't be able to bear it, and that his unhappiness would inevitably become her own. She is so calm as she speaks these words, as though they were the most natural thing in the world. To Girodelle, however, they are anything but. So he asks her to be certain that she is not giving up marriage solely for André’s sake. Oscar simply nods, as if there is no doubt about it in her mind. The manga conveys her peace of mind about her resolve with a gentle breeze carrying a few glittering drops of water.
In the anime movie, Oscar’s calm as she articulates her resolve is conveyed through the stillness of her surroundings. The fountain is silent, and the only sounds that remain are the wind rustling and birds chirping.
But when Girodelle asks her if she loves André...
Suddenly, the water starts flowing loudly from the Pyramid Fountain, pouring out of the conduits in the Nymph’s Bath.
I already mentioned in this analysis that still water was used as a recurrent theme for André, and flowing water for Oscar in the anime movie. The credit for pointing out this imagery goes to @mannatea.
Here, it is as though Girodelle’s question triggers a surge of feeling in Oscar’s heart, symbolized by the fountain bursting to life. Like she's trying to make sense of how she feels about André amid the torrent of emotions that overwhelms her. Her gasp betrays her surprise, but she doesn't attempt to evade the question. Instead, she tries to sort through her emotions—perhaps because she feels she owes the truth to Girodelle. Unable to name her feelings directly, she tries to explain instead what André means to her.
I don’t know.
I never thought of him that way. We were just like brothers.
No, perhaps we shared out tender years, times both good and bad, much more than mere brothers.
And without my ever realizing it, our souls grew closer and closer together.
It is at this point that the background music begins: track 24 from the original soundtrack composed by KOHTA YAMAMOTO. Its waltz-like quality suits Girodelle’s romantic yet somewhat aloof disposition, while also serving as the perfect accompaniment to the images shimmering across the surface of the flowing water—Oscar and André at play as children, transforming into birds and flying away together.
Notice how Oscar cannot bring herself to meet Girodelle’s gaze as she speaks about her feelings for André. Putting those feelings into words doesn't come naturally to her. Yet her honesty seems to convey her emotional unavailability to him far more effectively than her earlier rejection in the General’s study. Only after she finishes speaking does she finally lift her eyes to look at him.
And this time, Girodelle is the first to look away as he says, “His sorrow will bring you sorrow too.” Then he meets her gaze again and adds, “That is all I need to know. Because if you are unhappy, then I, too, would be the unhappiest person in the world.” Oscar is taken aback, as though she hadn't expected him to give up so easily.
It's like their exchange unfolds like a dance, attuned to the background music. Their words and glances alternate—one stepping forward as the other retreats, only for the balance to shift again in the next movement.
At last, they meet in the middle. Against the backdrop of the fountain’s flowing water, Girodelle kisses her hand—and this time, Oscar does not pull away.
Please accept this one and only token of my love. I will withdraw my proposal.
This is an achingly beautiful duet from the original soundtrack of the anime series capturing the longing between two ill-fated lovers.
Sounds like Marie-Antoinette and Fersen, right?
Or so I thought... But according to the booklet of the Music Box Complete Edition (UPCY-9490~2), this is a song about Oscar and André's feelings for each other.
03. Love's Sorrow
This image song was not featured in the series. Sung by Hiroko Suzuki [the singer of the opening and ending themes] and Reiko Tajima (Oscar's voice actress), it expresses the feelings of Oscar and André. The title was chosen out of three options: "Love's Pain," "Love's Sorrow," and "Hearts Drawn Together."
If my ears don’t deceive me, the indented lines are sung by Hiroko Suzuki—who, I assume, is performing André’s part—and Reiko Tajima is performing as Oscar, whom she voiced in the series.
I'll get the translation of the lyrics out of the way first before sharing my thoughts.
Whenever I lay eyes on you
The sweetest ache courses through my body
Whenever our paths cross
I glance away from the deep pools of your eyes
I wish I could go back to those childhood days
When we were so carefree
[合唱]
相寄る心 とめられないが
愛する言葉 言えずに
生きている 二人
[Chorus]
Two souls go on living
Without ever speaking words of love
Yet their hearts are drawn to one another
Unbidden
The birds fly high in the sky
Soaring free
Unlike them, you and I are not fated to live our lives
Abandoning everything else
I long to cry out your name…
I know it’s painful… But please stay strong for my sake
[合唱]
相寄る想い とめられないが
愛する命 いだいて
生きている 二人
[Chorus]
Two people go on living
Holding on to their souls in love
Yet their feelings call out to one another
Unheralded
I want to take you in my arms
And forget about everything else
Why do people fall in love
Only to suffer for it?
Just knowing that you are alive…
I can go on living—I feel the same way
Granted, reminiscing about childhood days does feel very 'Oscar and André.' That said, this line is very confusing: "Unlike them [birds], you and I are not fated to live our lives, abandoning everything else." That is precisely what Oscar and André choose to do when they decided to fight alongside the people. Oscar relinquished her title and promised André that they would marry after the battle—how is that not 'abandoning everything else'? And I also struggle to imagine Oscar telling André something like "please stay strong for my sake even though it's painful"???
Now, read the lyrics like this...
[Marie-Antoinette]
Whenever I lay eyes on you
The sweetest ache courses through my body
[Fersen]
Whenever our paths cross
I glance away from the deep pools of your eyes
[Marie-Antoinette]
I wish I could go back to those childhood days
[Fersen]
When we were so carefree
[Together]
Two souls go on living
Without ever speaking words of love
Yet their hearts are drawn to one another
Unbidden
[Fersen]
The birds fly high in the sky
Soaring free
[Marie-Antoinette]
Unlike them
You and I are not fated to live our lives
Abandoning everything else
[Fersen]
I long to cry out your name…
[Marie-Antoinette]
I know it’s painful… But please stay strong for my sake
[Together]
Two people go on living
Holding on to their souls in love
Yet their feelings call out to one another
Unheralded
[Marie-Antoinette]
I want to take you in my arms
And forget about everything else
[Fersen]
Why do people fall in love only to suffer for it?
[Marie-Antoinette]
Just knowing that you are alive…
[Fersen]
I can go on living—I feel the same way
Notes:
"I glance away from the deep pools of your eyes"
This line made me think of the following scene from the manga (and yes, I know I attributed it to Fersen in my translation, while here it's the queen who can't look him in the eye. But still...)
"I wish I could go back to those childhood days"
This could perhaps refer to the period when Marie-Antoinette was still the dauphine, before her relationship with Fersen came under such intense scrutiny. Maybe?
"I know it’s painful… But please stay strong for my sake"
This reminded me of a line from the final scene in Takarazuka Revue's Fersen & Marie-Antoinette Arc, where Marie-Antoinette begs Fersen to let her die with honour: "Have we not borne it all just to live to this day?" (「わたくしたちは今日まで耐えに耐えて生きてきたではありませんか。」) The verb used in the Japanese lyrics is the same verb in this line (耐える; to endure, to bear, to withstand), but artistically it sounded better to translate it as "please stay strong for my sake" rather than "please bear it for my sake".
"Just knowing that you are alive, I can go on living"
I mean...
"Yet their hearts are drawn to one another / Yet their feelings call out to one another"
Finally, the chorus especially felt reminiscent of this scene:
Anyway, I felt that the lyrics of this song were much better suited to describing the relationship between Marie-Antoinette and Fersen than that between Oscar and André, and I wanted to explain why. Of course, all of these references are imaginary, but it was fun to track them down and reframe the lyrics in a context different from the one originally intended.
The scene where Oscar declares to Girodelle that she would never get married is my favourite from the anime movie. The color palette, the animation, the music, the attention to detail like camera angles and location scouting, the whole symbolism with the flowing water… Everything about it is so great that I thought it merited its own appreciation post.
First off, the location… This is exactly where Oscar and Girodelle are standing. They’re in front of the Pyramid Fountain in the North Parterre, overlooking the Water Walk, right above the Nymph’s Bath. According to the official website of the Palace of Versailles, the water from the Pyramid Fountain is collected in the Nymph’s Bath below.
I dug into the depths of my camera roll and unearthed a couple of photos I had taken at the location back in 2016. At golden hour no less…
It feels so strange to watch another adaptation of The Rose of Versailles featuring the exact same place I had taken photos of while thinking of The Rose of Versailles all those years ago…
Okay, back to the scene...
Oscar explains to Girodelle that she would never marry, because André wouldn't be able to bear it, and that his unhappiness would inevitably become her own. She is so calm as she speaks these words, as though they were the most natural thing in the world. To Girodelle, however, they are anything but. So he asks her to be certain that she is not giving up marriage solely for André’s sake. Oscar simply nods, as if there is no doubt about it in her mind. The manga conveys her peace of mind about her resolve with a gentle breeze carrying a few glittering drops of water.
In the anime movie, Oscar’s calm as she articulates her resolve is conveyed through the stillness of her surroundings. The fountain is silent, and the only sounds that remain are the wind rustling and birds chirping.
But when Girodelle asks her if she loves André...
Suddenly, the water starts flowing loudly from the Pyramid Fountain, pouring out of the conduits in the Nymph’s Bath.
I already mentioned in this analysis that still water was used as a recurrent theme for André, and flowing water for Oscar in the anime movie. The credit for pointing out this imagery goes to @mannatea.
Here, it is as though Girodelle’s question triggers a surge of feeling in Oscar’s heart, symbolized by the fountain bursting to life. Like she's trying to make sense of how she feels about André amid the torrent of emotions that overwhelms her. Her gasp betrays her surprise, but she doesn't attempt to evade the question. Instead, she tries to sort through her emotions—perhaps because she feels she owes the truth to Girodelle. Unable to name her feelings directly, she tries to explain instead what André means to her.
I don’t know.
I never thought of him that way. We were just like brothers.
No, perhaps we shared out tender years, times both good and bad, much more than mere brothers.
And without my ever realizing it, our souls grew closer and closer together.
It is at this point that the background music begins: track 24 from the original soundtrack composed by KOHTA YAMAMOTO. Its waltz-like quality suits Girodelle’s romantic yet somewhat aloof disposition, while also serving as the perfect accompaniment to the images shimmering across the surface of the flowing water—Oscar and André at play as children, transforming into birds and flying away together.
Notice how Oscar cannot bring herself to meet Girodelle’s gaze as she speaks about her feelings for André. Putting those feelings into words doesn't come naturally to her. Yet her honesty seems to convey her emotional unavailability to him far more effectively than her earlier rejection in the General’s study. Only after she finishes speaking does she finally lift her eyes to look at him.
And this time, Girodelle is the first to look away as he says, “His sorrow will bring you sorrow too.” Then he meets her gaze again and adds, “That is all I need to know. Because if you are unhappy, then I, too, would be the unhappiest person in the world.” Oscar is taken aback, as though she hadn't expected him to give up so easily.
It's like their exchange unfolds like a dance, attuned to the background music. Their words and glances alternate—one stepping forward as the other retreats, only for the balance to shift again in the next movement.
At last, they meet in the middle. Against the backdrop of the fountain’s flowing water, Girodelle kisses her hand—and this time, Oscar does not pull away.
Please accept this one and only token of my love. I will withdraw my proposal.
This is my attempt at an analysis of the imagery used to represent André in the anime movie. I had originally planned to post this part first, but after drafting the other one, I realized that ending the analysis with this more straightforward imagery—the bird of prey symbolizing André’s vigilance and protectiveness—nicely complements the subtler still water imagery that conveys his steadfast, comforting presence. Chronologically, it also made more sense to discuss this representation afterward. Even after countless rewatches, I’m still not entirely sure I’ve caught every instance of this motif though. Anyway, I hope you enjoy this analysis, and as always, I would love to hear your thoughts in the comments.
The title of this two-part analysis is a nod to track 29 from the original soundtrack of the new anime movie. Read part one here.
In the opening sequence of the anime movie, a bird of prey appears on the screen for a split second right after André’s introduction. I’m not good at identifying birds, so I can’t tell whether it’s a falcon, hawk, or another species. Symbolism tied to birds of prey varies across cultures, but since it clearly represents André here, my initial thought was that it was chosen to highlight his vigilance and protectiveness toward Oscar.
The bird next appears flying over the Jarjayes mansion while teenage Oscar and André are practicing swordplay. When the scene shifts, we first see André, then Oscar, as though reaffirming that the bird represents him. And since Oscar has already been introduced in the prelude, this scene seems designed to establish André’s role in relation to her. And sure enough, the scene concludes with André's famous words to her: “I’ve always been by your side, and I always will be.”
Because André has always been by Oscar’s side, he is keenly aware of her every shift in mood. He sees all that she is, exactly as she is. As I thought about how to frame this imagery with in relation to André’s vigilance, I kept coming back to the expression hawk-eyed. The choice of a bird of prey as André’s symbol may also gesture toward this quality—the way he remains attuned to Oscar, still able to watch over her even after losing his sight.
Later, the bird appears again near the very end, after André’s death. As if fulfilling his promise to remain by Oscar’s side, it circles over the Bastille, watching over her just as she orders her men to march there to fight alongside the people.
It is this scene that provided the context that was missing in my initial reading on what the bird symbolized about André. In fact, it represents a different kind of protectiveness that is key to André’s character in the story. Notice how the bird does not appear in the scenes where André physically protects Oscar—it’s nowhere to be seen during the mob attack where he loses his left eye, or during the battle at the Tuileries Garden where he takes a bullet meant for her.
If we assume that the bird of prey represents André's spirit here in this scene, it's not like he's there to prevent Oscar's death at the storming of the Bastille. That was not the point from the start. The point was that she made it there. Oscar believed in the ideals of the revolution, abandoned her title and chose to fight alongside the people. This is her walking the path she chose for herself. And by her own admission, she could walk it thanks to André—because he was always by her side, lending her his strength.
And it is precisely this quality of André that the bird of prey embodies in the anime movie: watching over Oscar so that she can fulfill her destiny.
This representation ties in nicely with the still water imagery I discussed in the first part of this analysis. Take the previous scene where Oscar rallies her soldiers to join the storming of the Bastille. She is overcome with grief over losing André and she pulls herself together because she can still draw strength from the thoughts of him, no matter how painful. This is beautifully conveyed in the anime movie through the image of a single leaf—symbolizing Oscar’s grief—landing on still water—symbolizing André’s soothing presence—sending gentle ripples across the surface that signal her shift back toward composure. And just like that Oscar manages to move on. She takes one more step toward her chosen path.
And here the bird is circling in the air after Oscar has been fatally wounded. As Alain carries her behind the frontline, she murmurs to herself, “Give me your hand, André. Don’t let me lose my courage.” It's like he knew that she would need him at that moment, that she would keep him to his word earlier when she asked him to stay close beside her by the fountain.
It is at this moment that Oscar must have felt André’s presence—hence the tears. That's why she tells Alain to lay her down and tilts her head back to look up. She sees the bird and smiles ever so slightly just as we see its shadow cast over her face. And only then she says to Alain, “André is waiting for me.”
This is my attempt at an analysis of the imagery used to represent André in the anime movie. Although the limited runtime of the movie required many scenes to be trimmed, the creators still took care to convey the emotional depth of the original work through thoughtfully placed visual motifs. Noticing these subtle symbolic choices scattered throughout has made me appreciate the movie even more. I hope you enjoy this analysis, and as always, I would love to hear your thoughts in the comments.
The title of this two-part analysis is a nod to track 29 from the original soundtrack. Read part two here.
First off, the credit for identifying water as a leitmotif for André goes to @mannatea. She casually mentioned it in one of the comments of her awesome fic and listed all the scenes where it was hinted as such. Naturally, I was mind-blown and had to go rewatch the anime movie to track down every single one.
Now, the first scene by the fountain… After their duel, teenage Oscar and André sit by the fountain in the gardens of the Jarjayes mansion to catch their breath. Oscar speaks with pride about being entrusted with the role of protector to the dauphine, while André listens with quiet admiration. She tells him she’ll need his support more than ever as her attendant at Versailles, and he is only too glad to fulfill that role.
The fountain is shown from multiple angles throughout their exchange. Its jets are off, and we hear only the faint sounds of still water. The scene ends with André telling Oscar, “I’ve always been by your side and I always will be,” and at that moment the camera cuts to a close-up of the water in the fountain with the rays of the setting sun shimmering on its surface.
I felt like this shot was meant to convey the soothing and ever-present quality of water. And André is both of those things. Think about it. André’s gentle nature is the anchor someone as willful and driven as Oscar needs. To quote @mannatea, “[André] very much feels like a ‘still waters run deep’ kind of man.” And he’s always simply there. Oscar says so explicitly in the scene with the poisoned wine. They probably haven’t spent a day apart since André was brought into service. He has witnessed almost every single day of Oscar’s life—just as that fountain witnessed many of their precious shared moments. Always in the background yet essential—André's presence is a lifeline for Oscar, as she comes to realize towards the end of the story.
The second scene by the fountain takes place nineteen years later. I got very emotional watching these two scenes back-to-back, especially once I realized that they intentionally paralleled one another.
Although both scenes unfold at sunset, the light differs subtly. In the earlier scene, the sun burns brighter, almost like sunrise—because then Oscar and André were at the dawn of their lives. In the later scene, the sunlight is deeper, more somber, like the final glow of a setting sun—because they were approaching the end of their lives.
The imagery in the second scene also represents André’s soothing and constant presence. The French Guards have received the order to march the next day and Oscar tells André to stay behind, fearing for his safety given his disability. Naturally, André refuses, and Oscar relents. She asks him to stay by her side and lend her his courage. Then, suddenly, she rests her head on his shoulder—no doubt to calm her nerves. And again, we see the shimmering surface of still water in the background. While Oscar doesn’t voice it as she does in the manga, it’s easy to imagine her wondering to herself at how André’s quiet strength comforts her at times like this.
The same fountain appears in the scene where Oscar’s father tells André to enlist in the French Guards. We see this view of the garden from the library/study precisely when the General calls out for him.
The next scene heavy with the water symbolism is the "proof of love" scene with Girodelle. I love this scene so much that I thought it deserved its own appreciation post. Here, Oscar meets with Girodelle in the gardens of Versailles to declare her resolve never to marry. They stand between two fountains that are shut off. The only sounds are the rustling wind and chirping birds. When Girodelle asks Oscar if it’s for André’s sake that she would not marry, we get this shot with the one of the fountains at the forefront.
Once again, the mention of André summons the image of still water glimmering in the sun. Oscar answers Girodelle with a resolute nod. But then, when he asks whether she loves André…
Suddenly the fountains burst to life, water surging loudly from the conduits and jets. It’s as if Girodelle’s question triggers a flood of emotion in Oscar’s heart. To quote @mannatea again about Oscar realizing her feelings for André in relation to this particular scene: “It's like the waters were so still, Oscar was submerged in them and didn't notice it until something happened to make her realize.”
Indeed, the question takes Oscar by surprise. She gasps, as though the thought had never crossed her mind. And it’s not like she has fully grasped her feelings yet. She tries to make sense of what Girodelle’s question stirs in her and can’t really put a name on it. So she answers him truthfully and tries to explain how she feels about André. And this is how the anime visualizes her soul-searching, taking the imagery in the manga as a reference.
So, while still water symbolizes André, flowing water symbolizes Oscar—as established in this scene. This symbolism returns in the battle scene at the Tuileries Garden. After the French Guards open fire at Oscar’s order, fountains in the garden surge on.
It's as if the fountains running throughout the fighting mirror Oscar’s state of mind. She is overflowing with emotion. She’s confident—free at last from the restraints that held her back. She’s exhilarated—commanding her troops in the name of shared ideals. She’s hopeful—having promised André that they would wed after the battle. And she’s terrified—having seen him take the bullet meant for her.
The next morning, the fountains in the Tuileries Garden are silent, as though the overflowing emotion of the previous day has settled into solemn stillness. Oscar rallies the remainder of her troops for the storming of the Bastille. Her uniform is still stained with André’s blood. When she calls out to him out of habit, a light breeze stirs the leaves where he would be standing. That’s when it hits her anew that he’s gone. She excuses herself to her soldiers and breaks down crying.
@mannatea helped me revisit this scene with fresh eyes. The scattering leaves capture the force of Oscar’s grief. But then, we see a single leaf drift down onto the fountain’s surface. The still water—again symbolizing André’s steady, reassuring presence—receives it gently, sending soft ripples across the surface.
It’s a serene vision that perhaps reflects what Oscar herself sees in her mind’s eye at that moment—as if she feels André's presence and it helps her calm down. The gentle ripples across the water are meant to show us this shift back toward composure. Though the memory of André is painful, it still brings Oscar a measure of calm when she needs it most.
Indeed, when we see Oscar again in the next shot, she has steadied herself. The worst of the storm has passed. She wipes away her tears, resolve returning to her features, and gives the order: “To the Bastille!”
I just realized something… Oscar asked Marie Antoinette’s permission to resign from the Royal Guard because, after all those conversations with Bernard, she felt that she could not be a part of an institution that served the nobility to the detriment of the third estate. When the queen insisted for a reason, Oscar said it was because she failed to capture the Black Knight. I just realized that this was not her excuse, but her justification for leaving the Royal Guard.
At the time, Bernard was still healing in captivity at the Jarjayes mansion. So Oscar fully intended to release him even back then, but she also fully expected to face the consequences even if no one would ever find out about it to hold her responsible. And asking to be demoted was her way of paying the price of what she had set her mind to do—after all, she did catch the Black Knight and would be releasing him intentionally.
This is such an “Oscar” thing to do… So noble, so honourable…
The concept of having a sense of responsibility as a virtue is one of the most powerful messages of The Rose of Versailles that I hadn’t given much thought to until recently.
Oscar is aware of her privilege as a noble and takes responsibility for André after the dauphine’s horseback riding accident. As his master, Oscar feels responsible for him in what was clearly an accident and puts her life on the line.
As the heir of the Jarjayes family, she feels responsible for the plight of the commoners living in her lands in Arras and makes it her duty to inform the royal family of their situation.
As the captain of the Gardes Françaises, she feels responsible for the well-being of her soldiers, berating herself for not realizing that they were struggling to feed their families, and ultimately wins their hearts.
The list goes on…
Even in her darkest hour after losing André, she leads the remainder of her troops to storm the Bastille because she feels responsible to do her part in the revolution as a citoyenne who believes in the cause.
Yes, it feels wonderful to be swept away in the romance, but such lessons to be derived from the story truly make The Rose of Versailles remarkable in a way that I have come to appreciate more lately.
The sound effect above remains untranslated in the English release. The editors must have missed it because there is no other text on the page. It’s not so important maybe, but I think it gives this scene an added layer of meaning.
Here, Oscar chuckles to herself probably because she can tell that she’s rendered André speechless. Her eyes are closed but she can definitely sense his reaction—that he just froze for a moment taking in the meaning of her words.
For context, Oscar’s chuckle is similar to the one in this scene where the same sound effect is used.
