Wikipedia

The Rose of Versailles

"Lady Oscar" redirects here. For the 1979 film, seeLady Oscar (film).For the character, seeOscar François de Jarjayes.
For the 2025 animated film, seeThe Rose of Versailles (film).

The Rose of Versailles(Japanese:ベルサイユ の ばら,Hepburn:Berusaiyu no Bara),also known asLady OscarandLa Rose de Versailles,is a Japanesemangaseries written and illustrated byRiyoko Ikeda.It was originally serialized in themanga magazineMargaretfrom 1972 to 1973, while a revival of the series was published in the magazine from 2013 to 2018. The series is ahistorical dramaset in the years preceding and during theFrench Revolution.Using a combination of historical personages and original characters,The Rose of Versaillesfocuses primarily on the lives of two women: theQueen of FranceMarie Antoinette,andOscar François de Jarjayes,who serves as commander of theRoyal Guard.

The Rose of Versailles
Secondtankōbonvolume cover, featuringMarie Antoinette(background) andOscar François de Jarjayes(foreground)
ベルサイユ の ばら
(Berusaiyu no Bara)
GenreHistorical,romance[1]
Created byRiyoko Ikeda
Manga
Written byRiyoko Ikeda
Published byShueisha
English publisher
ImprintMargaret Comics
MagazineMargaret
DemographicShōjo
Volumes14(List of volumes)
Series titles
    • The Rose of Versailles
    • (May 21, 1972 – December 23, 1973, 10 volumes)
    • The Rose of Versailles: Episodes
    • (April 20, 2013 – February 5, 2018, 4 volumes)
Anime television series
Directed by
Music byKōji Makaino
StudioTokyo Movie Shinsha
Licensed by
Original networkNNS(NTV)
Original runOctober 10, 1979–September 3, 1980
Episodes40(List of episodes)
Other notable adaptations
Sequels & spin-offs

Ikeda createdThe Rose of Versaillesas a story about revolution and populist uprisings after becoming involved withJapan's New Leftas a member of theCommunist Party of Japanin the late 1960s. The series was developed during a significant transitional period forshōjomanga(manga for girls) as a medium, characterized by the emergence of stories with complex narratives focused on politics and sexuality.The Rose of Versailleswas a significant critical and commercial success, and by 2022 had sold over 23 million copies worldwide. The series contributed significantly to the development ofshōjomanga, and was one of the primary works responsible for its shift from a genre aimed at children to a genre aimed at adolescents and young adults.

The Rose of Versailleshas been adapted multiple times, notably asa television anime seriesthat aired onNippon Televisionduring the 1979—80 season, a1979 live-action filmdirected byJacques Demy,a series of musicalsstaged by theTakarazuka Revue,and a2025 anime film.Several sequels and spin-offs have also been produced, notablyEikou no Napoleon – Eroica.An English-language translation of the manga has been published byUdon Entertainment,while the anime adaptation is currently licensed in North America byDiscotek Media.

Synopsis

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Riyoko Ikeda (right) withcosplayersdressed as Marie Antoinette (left) and Oscar (center)

The Rose of Versaillesis set in France before and during theFrench Revolution.The primary character of the story isMarie Antoinette,the teenagedDauphineand laterQueen of France,and the co-protagonist of the series a woman namedOscar François de Jarjayesonly until her death. As the youngest of six daughters, Oscar was raised like a son from birth by her military general father to succeed him as commander of theRoyal Guardat thePalace of Versailles.Oscar's friend (and later lover) André Grandier, a commoner who is the grandson of her nanny, serves as her attendant.

The primary action of the story revolves around Oscar's growing realization of how France is governed, and of the plight of the country's poor. When Antoinette begins an affair with the Swedish countAxel von Fersen,their relationship becomes the subject of gossip and scandal throughout France, and Antoinette's reputation is damaged. After von Fersen leaves Europe to fight in theAmerican Revolutionary War,a distraught Antoinette begins spending lavishly on jewellery and clothing to distract herself from his absence. Her spending mires France in debt, while theAffair of the Diamond Necklaceand the machinations of the schemingDuchess of Polignacfurther aggravate public sentiment toward the monarchy.

As the revolution intensifies, Oscar is unable to ignore the suffering of the French public, and leaves the Royal Guard to join theFrench Guards.André dies fighting alongside Oscar with the revolutionaries and the French Guards during a skirmish with the military; Oscar herself dies the following day, leading the revolutionaries during theStorming of the Bastille.Sometime thereafter, Antoinette and the royal family are taken as prisoners by the revolutionaries. After being tried by theRevolutionary Tribunal,Antoinette is sentenced to death byguillotine.

Characters

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Main article:List ofThe Rose of Versaillescharacters

The Rose of Versaillesjuxtaposes a combination of real-life historical personages and original characters created by Ikeda. The action of the story is primarily focused onMarie AntoinetteandOscar François de Jarjayes,who alternately serve as the primary character of the series, whileAxel von Fersenserves as the object of affection for both women.[2]Two additional characters, André Grandier andRosalie Lamorliere,function within the story asaudience surrogates.[3]

Development

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Context

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A barricade erected by student protestors in Tokyo, 1967

The Rose of VersaillescreatorRiyoko Ikedacame of age in the 1960s, a decade that saw the rise of theNew Left in Japan.This political movement, inspired in part by the ideals of the French Revolution, galvanized Japanese youth and led to the formation ofstudent protest movements.Upon entering university in 1966, Ikeda became a part of this movement after joining theDemocratic Youth League of Japan,the youth branch of theJapanese Communist Party.[4][5]Ikeda made her debut as a manga artist in 1967, with her early works generally falling into one of two categories: romantic stories typical ofshōjomanga of the era, and socially and politically motivated stories that addressed themes such as poverty, diseases caused bynuclear weapons,and discrimination against Japan'sburakuminpopulation.[4]

Shōjomanga(girls' manga) of the 1960s largely consisted of simple stories marketed towards elementary school-aged girls, with discussions of topics such as politics and sexuality considered taboo.[6]These attitudes began to shift in the 1970s, as new authors began to moveshōjomanga away from an audience of children towards an audience of adolescents and young women.[6]This shift came to be embodied by a new generation ofshōjomanga artists collectively referred to as theYear 24 Group,of which Ikeda has been associated; the group was so named because its members were born in or around year 24 of theShōwa era(or 1949 in theGregorian calendar).[7]The group contributed significantly to the development ofshōjomanga by expanding the genre to incorporate elements ofscience fiction,historical fiction,adventure fiction,and same-sex romance: both male-male (yaoi) and female-female (yuri).[8]

Production and release

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See also:List ofThe Rose of Versailleschapters
Ikeda in 2008

As the New Left declined in the early 1970s, Ikeda decided to create a manga focused on themes of revolution and populist uprising.[9]After researching the French Revolution for two years,[10]Ikeda proposed a manga series that would be a biography of Marie Antoinette to her editors at the Japanese publishing companyShueisha.[11]Though Ikeda's editors were reticent about the concept, the first chapter ofThe Rose of Versailleswas published on May 21, 1972, in the weekly magazineMargaret.[12]As a result of this lack of support from her editors, Ikeda frequently relied on feedback from fans to determine the direction of the story;[11]for example, Rosalie was initially conceived by Ikeda as an audience surrogate character, but she proved to be unpopular among readers and her role was decreased.[3]

Ikeda modeled her depiction of Antoinette on typicalshōjoheroines of the era: lively, sentimental, and seeking love, with her rivalry withMadame du Barrymirroringshōjostories that focus on rivalries between schoolgirls. The exotic Western setting marked by arococostyle was also similarly aligned with typicalshōjomanga settings of the 1970s.[11]Oscar is initially introduced as a supporting character, with Ikeda's decision to make the commander of the Royal Guard a woman rooted in her belief that she could not convincingly write a character who was a male soldier.[13]Ikeda based the character's appearance on Swedish actorBjörn Andrésen,who became immensely popular in Japan in the early 1970s after starring in the filmDeath in Venice.[14]Oscar became immediately popular, with her characterization as a strong and charismatic woman resonating with theshōjoaudience; in response to positive feedback from readers,[15]Oscar temporarily became the co-protagonist ofThe Rose of Versaillesonly until her death.[13]

As the series shifted to focus on Oscar, Ikeda pursued a more serious tone relative to early chapters ofThe Rose of Versaillesin terms of her depiction of politics, social issues, and sexuality;[13]the art style also shifts, both to reflect this tonal change and to depict how the characters have aged.[16]Following Oscar and André's deaths, readership ofThe Rose of Versaillesdeclined precipitously; the November 4, 1973, issue ofMargaret,published two weeks after Oscar's death, contains a note from the editors indicating that they had been inundated with letters from readers asking for Oscar and André be brought back to life.[17]Though Ikeda wished to continue the series and depict the entirety of the French Revolution, her editors convinced her to conclude the series shortly thereafter.[18]The final chapters of the series shift back to Antoinette as the primary character, and depict the events of the revolution from the fall of the Bastille to Antoinette's death.[17]

Revival

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In 2013, Shueisha invited Ikeda to write a column inMargaretto mark the 50th anniversary of the magazine. Ikeda asked if she could instead write additional chapters ofThe Rose of Versaillesthat she was unable to publish due to the series' shortened serialization;[19]her request was accepted, and additional chapters ofThe Rose of Versaillesbegan serialization inMargareton April 20, 2013.[20]The first chapter, which focuses on André's childhood, adapts a story that Ikeda had written for a musical adaptation ofThe Rose of Versaillesstaged by theTakarazuka Revue.[19]The final chapter of the revival was published on February 5, 2018, and connects the story ofThe Rose of Versaillesto the manga seriesThe Poe ClanbyMoto Hagio;Ikeda is a friend of Hagio's and a fan ofThe Poe Clan,and received Hagio's permission to connect the two stories.[21]

English-language release

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Writer and translatorFrederik L. SchodttranslatedThe Rose of Versaillesinto English for use as reference by the producers of the manga's 1979 live-action film adaptationLady Oscar;only one copy of the translation was produced, which was lost.[16]In 1981, Schodt again translated the first two volumes ofThe Rose of Versaillesinto English for the Japanese publishing house Sanyusha,[22]which were published as instructional materials for Japanese readers seeking to learn English.[16]An excerpt from Schodt's translation was included in his 1983 bookManga! Manga! The World of Japanese Comics.[23]

In July 2015,Udon Entertainmentannounced that it had acquired English-language publishing rights forThe Rose of Versailles.[24]Originally scheduled for release in 2016, the first volume in the five-volume hardcover series was released in January 2020,[25]while the final volume was released in April 2021.[26]

Themes and analysis

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Sexuality

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Shōjomanga of the 1960s and earlier generally depicted one of two kinds of love stories: heterosexual romances between a passive girl and aPrince Charming-like male, andClass Sstories that depicted intense but fleetinghomoeroticromantic friendshipsbetween girls.[27]Rosalie, Oscar's first romantic interest, is reminiscent of Class S dynamics: the young and naïve Rosalie pines for the older and mature Oscar, though Oscar rebuffs her advances on the grounds that they are both women.[9]Her subsequent romantic interests are two Prince Charming figures: von Fersen, who rejects Oscar because he perceives her only as a man, and The Count of Girodelle, Oscar's arranged fiancé whom she rejects because he treats her only as a woman.[9]

Oscar ultimately enters a relationship with André, who Ikeda did not initially conceive as a potential romantic partner for Oscar; his status as Oscar's true and final love was incorporated into the story on the basis of reader feedback.[15]Manga scholar Deborah Shamoon notes that while Oscar and André's relationship is "in a biological sense heterosexual, it is still configured within the story ashomogender":Oscar is a masculine woman, while André is an emasculated man.[17]Shamoon notes that André is of lower social status relative to Oscar, that it is André and not Oscar who experiences "the stereotypically female pain of unrequited love",[15]and that the close physical resemblance between Oscar and André echoes the aesthetics of the then-emergingboys' love(male-male romance) genre.[15]

Historicity

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The uniform worn by the Royal Guard during theNapoleonic erais similar to the uniform worn by Oscar.

Ikeda derived the historical elements ofThe Rose of Versaillesfrom the 1932 biographyMarie Antoinette: The Portrait of an Average WomanbyStefan Zweig.The depiction of Marie Antoinette inThe Rose of Versaillesis largely rendered as it is narrated in the biography: her close relationship with her motherMaria Theresa,her loveless marriage withLouis XVI,her rivalry with Madame du Barry, her friendship with the Duchess of Polignac, the Affair of the Diamond Necklace, and her love for Axel von Fersen.[11]Both Zweig and Ikeda portray Antoinette as a relatively unremarkable person who had an "accidental encounter with fate", contrasting both the villainous portrayals of Antoinette by thesans-culottesand the saintly depictions of Antoinette by pre-revolutionaryBourbons.[28]

The largest deviations from historical events come in the form of Ikeda's original characters: Oscar, André, and the Jarjayes family are original creations of the author, though Oscar's father is loosely based on the real-life historical figureFrançois Augustin Regnier de Jarjayes[fr].The familial connection between Rosalie,Jeanne de Valois-Saint-Rémy,and the Duchess of Polignac is similarly an invention of the author, as are several supporting characters, such as Alain de Soissons. The chronology of certain historical events are also slightly altered for dramatic purposes (for example, von Fersen is not present during the Affair of the Diamond Necklace in the manga), and the manga contains some visual inaccuracies (for example, Oscar's French Guard uniform is actually the uniform worn by the Royal Guard during theNapoleonic erain the early 19th century).[29]

Ikeda's depiction of the events of the French Revolution are informed by both her feminist and communist political leanings, and are personified in the story by Oscar.[30]The narrative ofThe Rose of Versaillesdramatizes thesocial realistdoctrine advocated by the Japanese communist movement, addressing issues such asclass consciousness,inequality between economic classes, the subordinate status of women, the duties of citizens, the material conditions of labor,[31]and the manner in which rights for citizens arise from a mass and spontaneous revolt.[32]

Feminism and gender

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Thefeminist movement of post-war Japanwas divided betweenconsumerism,which advocated for theindividualistpursuit of personal pleasure, andsocialism(as embodied by theNew Left), which rejected consumerism and sought acollectivistresponse to the subordinate status of women.[33]Following theAsama-Sansō incidentof February 1972, in which fourteen members of theUnited Red Armywere killed in apurge,an increasing proportion of Japanese feminists rejected socialism in favor of consumerism.[34]According to Nobuko Anan, a scholar of Japanese visual arts and gender,The Rose of Versaillesembodies the tension between consumerism and socialism as a work of mass consumerist culture that nonetheless depicts what Ikeda describes as "the inner revolution of the Japanese women".[35]

Ikeda has stated that she saw Marie Antoinette as a compelling figure in the way that she symbolized insubordination against thepatriarchy,specifically her reluctance to accept the social impositions of Versailles, her loveless marriage, and the hatred that she aroused from both the court and public.[36]However, Antoinette is limited in her ability to resist patriarchal forces by the imposition of motherhood; indeed, the abolition of the social obligation to become a mother was one of the main demands of the Japanese feminist movement at the time.[37]

Deborah Shamoon argues that Oscar's popularity relative to Antoinette can be owed to her more complex characterization: first, that she is torn between her affection for Antoinette and the realization that she perpetuates a corrupt system; and second, that she "questions the assumptions of heterosexual romance and gender roles" through herandrogynyand her search for an equal romantic partner who respects both her femininity and her masculinity.[13]In this regard, the sex scene between Oscar and André is particularly notable: their relationship is egalitarian, both possess an androgynous appearance, and Oscar's breasts are not visible.[38]AcademicYukari Fujimotoargues that the scene's depiction of a highly aestheticized version of sex "determined the image of sex in the minds of middle and high school female students around the time [...] not as a daily activity but as the ultimate way to convey once-in-lifetime love."[35]

Adaptations

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Anime

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Animated series

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Main article:List ofThe Rose of Versaillesepisodes

A televisionanimeadaptation ofThe Rose of Versailles,produced byTMS Entertainment,aired onNippon Televisionfrom October 10, 1979, to September 3, 1980.[39]Episodes 1 to 12 of the series were directed byTadao Nagahama,while episodes 19 to 40 were directed byOsamu Dezaki.Other members of the production team includedShingo Arakias animation director and character designer,Michi Himenoas character designer, andKōji Makainoas music composer. The series' theme song "Bara Wa Utsukushiku Chiru[ja]"(" Roses Scatter Beautifully ") was composed by Makaino, written byMichio Yamagami[ja],and performed byHiroko Suzuki[ja].[40]A single episode summarizing the events of the 1979 series,The Rose and Women of Versailles(ベルサイユ の ばらと nữ たち),was also produced.[39]

In North America, distribution rights for the anime adaptation ofThe Rose of Versailleswere acquired byRight Stufin 2012; the company released the series under its Nozomi Entertainment brand on DVD and on the streaming platformVikiin 2013.[1]Rights for the series were later acquired byDiscotek Media,which released the series on Blu-ray in 2021.[41]

Animated films

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Main article:The Rose of Versailles(film)

The Rose of Versailles: I'll Love You As Long As I Live(ベルサイユ の ばら sinh mệnh あるかぎり ái して),an anime film adaptation of the 1979 series, was released on as anoriginal video animationon May 21, 1987.[42]In 2007,Toei Animationannounced that it would produce a newRose of Versaillesanimated film, but no film was ever produced.[43]

A new anime film adaptation ofThe Rose of Versailleswas announced to mark the fiftieth anniversary of the release of the manga series on September 6, 2022,[44]and was released theaters in Japan on January 31, 2025.[45][46]The film is produced byMAPPAand directed by Ai Yoshimura, with Tomoko Konparu writing the script, Mariko Oka designing the characters, andHiroyuki SawanoandKohta Yamamotocomposing the music. It starsMiyuki Sawashiroas Oscar,Aya Hiranoas Marie Antoinette,Toshiyuki Toyonagaas André, andKazuki Katoas von Fersen.[47]The theme song for the film, "Versailles", is performed byAyaka.[48]

Musicals

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Main article:The Rose of Versaillesmusicals

The all-female theater revue theTakarazuka Revuehas dramatizedThe Rose of Versaillesmultiple times since 1974. The show's role in Takarazuka history is particularly notable, as it triggered a significant surge in the revue's popularity and established its "Top Star" system of assigning lead roles.[49]From 1974 to 1976, all four Takarazuka troupes stagedThe Rose of Versailles,drawing a total audience of 1.6 million; the revue's 1986 alone drew an audience of 2.1 million.[50]In 2024, a Korean adaption debuted at the Chungmu Art Center, Seoul.[51]

Live-action film

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Main article:Lady Oscar(film)

Lady Oscar,a live-action film adaptation ofThe Rose of Versailles,was released in Japan on March 3, 1979. The film was directed byJacques Demy,and starsCatriona MacCollas Oscar andBarry Stokesas André.[52]

Other

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In 2014, an officialFlash animationparody ofThe Rose of Versaillesproduced by the artist Frogman was released.[53]In 2017, video game developerOtomateannouncedBerubara Private Academy: Rose of Versailles Re*imagination,avisual novelinspired byThe Rose of Versailles,[54]which was released in 2019.[55]

Reception and legacy

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Critical reception

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Manga criticJason Thompsonhas praisedThe Rose of Versaillesas "a classic" of the medium, describing Ikeda's creation of Oscar as a "stroke of genius" and foundational to manga archetype of "a woman who plays the role of a man, sometimes struggling with the burden, but mostly surpassing men at their own game". Thompson notes that while this archetype was established inOsamu Tezuka's manga seriesPrincess Knight,he favorably compares the "elegant and tragic" Oscar to Tezuka's "childlike and cute" series.[16]Reviewing the first two English-language volumes ofThe Rose of VersaillesforOtaku USA,Danica Davidson similarly praisesThe Rose of Versaillesas a series that "helped revolutionizeshōjomanga ", drawing specific attention its" elegant, detailed and Rococo-infused "artwork.[56]

Reviewing the anime adaptation ofThe Rose of VersaillesforIndieWire,Charles Solomon noted that while the series "makes American daytime soap operas feel restrained", he cites it as "an intriguing example of cross-cultural cross-pollination". He notes that while that the "Versailles of the story is no more French than the town of Titipu inGilbert and Sullivan'sThe Mikadois Japanese ", he praises he manner in which an"occidentalsetting [is] treated as an exotic backdrop for a Japanese romantic fantasy, paralleling the way Western works of fiction have treated Japan ".[57]Jennifer Berman ofTHEM Animegave the adaptation five out of five stars, praising its historical fiction elements but noting that its 1970s-style animation defined by "pointy chins" and "big sparkly eyes" may be unappealing to contemporary viewers.[58]

Impact

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A statue of Oscar and André at theTakarazuka Grand TheaterinTakarazuka, Hyōgo

The Rose of Versailleswas a significant commercial success upon its release. The social phenomenon of its popularity among Japanese audiences in the early 1970s is referred to as the "beru bara boom"(ベルバラブーム,berubara buumu,as derived from the original Japanese titleBerusaiyu no Bara).[59]By 2022, collected volumes ofThe Rose of Versailleshad sold over 23 million copies worldwide.[60]Manga artistMoto Hagionotes that the commercial success ofThe Rose of Versaillesinfluenced Japanese manga publishers to routinely publish serialized manga in thetankōbonformat.[61]The series is credited with contributing to Japanese interest inFrench cultureand popularizing thePalace of Versaillesas a destination for Japanese tourists;[62]its impact in promoting French history and culture was such that Ikeda was awarded theLegion of Honourby the French government in 2009.[63]

The series contributed significantly to the development ofshōjomanga as a medium.Susan J. Napiernotes that Oscar's characterization as a "complex and three-dimensional" female character who contrasted the "traditional demure and subdued idea of Japanese womanhood" heavily influenced how female characters were portrayed inshōjomedia subsequent toThe Rose of Versailles'release.[1]Oscar inspired multiple other "feistycross-dressingheroines "in manga and anime, in series such asHayate × BladeandRevolutionary Girl Utena.[1][16]The series was additionally one of the primary works responsible forshōjomanga's shift from a genre aimed at children to a genre aimed at adolescents.[64]This shift is reflected directly in the plot of the story itself, which progresses from a frivolous and light-hearted tone to a serious tone focused on political and social issues. Notably, the often brutal and violent deaths of the series' characters are permanent; this was a new paradigm inshōjomanga at the time, where it was common tobring deceased characters back to lifeusing plot contrivances.[17]

The success and notability ofThe Rose of Versailleshas been sustained in the decades subsequent to the release of the manga through its various adaptations, notably theTakarazuka Revuemusical adaptations. The musicals have been credited with popularizing Ikeda andThe Rose of Versaillesin Japan among the general public;[65]by 2014, Takarazuka musical adaptations ofThe Rose of Versailleshave been performed roughly 2,100 times to an estimated audience of over 5 million.[66]

Sequels and spin-offs

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Following the conclusion ofThe Rose of Versailles,Ikeda produced the following works:

  • Thespin-offmanga seriesThe Rose of Versailles: Gaiden(ベルサイユ の ばら ngoại vân,Berusaiyu no Bara Gaiden).It focuses on characters from the original series in stories unrelated to the events of the French Revolution, and introduces Oscar's niece Loulou de la Laurencie. It was serialized inMargaretfrom 1984 to 1985.[67]
  • The sequel manga seriesEikou no Napoleon – Eroica.The series focuses on theFirst French Empireunder the reign ofNapoleon Bonaparteand features several characters fromThe Rose of Versaillesin supporting roles, notably Rosalie, Bernard and Alain de Soissons. It was serialized inMargaretfrom 1986 to 1995.[68]
  • The parody manga seriesBeru Bara Kids(ベルばらKids).It was serialized as a series of four-panelyonkomacomics in the newspaperThe Asahi Shimbunfrom 2005 to 2013.[69]

See also

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References

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  2. ^McKnight 2010,p. 132.
  3. ^abShamoon 2012,pp. 123–125.
  4. ^abNakagawa 2019.
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  18. ^McKnight 2010,p. 127.
  19. ^abIkeda 2019,Preface.
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  35. ^abAnan 2014,p. 51.
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  37. ^Anan 2014,p. 43.
  38. ^Anan 2014,p. 49.
  39. ^abYuasa, Hiroyuki (August 2020).ベルサイユ の ばら アニメ đại tiện mổ.Sanei. pp.124–125.ISBN9784779641923.
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  42. ^"ベルサイユ の ばら sinh mệnh あるかぎり ái して".Amazon Japan(in Japanese). May 21, 1987.Archivedfrom the original on September 20, 2024.RetrievedMay 14,2021.
  43. ^Loo, Egan (November 29, 2007)."The Rose of Versailles Film Remake's Date to be Announced".Anime News Network.RetrievedMay 14,2021.
  44. ^Loo, Egan (September 6, 2022)."Rose of Versailles Manga Gets New Anime Film".Anime News Network.Archivedfrom the original on September 6, 2022.RetrievedSeptember 6,2022.
  45. ^Cayanan, Joanna (October 7, 2024)."New The Rose of Versailles Anime Film Reveals January 31 Premiere".Anime News Network.Archivedfrom the original on October 8, 2024.RetrievedOctober 8,2024.
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  47. ^Tai, Anita (July 1, 2024)."New Rose of Versailles Anime Film's 2nd Teaser Unveils Cast, Staff, Early 2025 Opening".Anime News Network.Archivedfrom the original on July 1, 2024.RetrievedJuly 1,2024.
  48. ^Cayanan, Joanna (November 21, 2024)."New The Rose of Versailles Anime Film's Main Trailer Reveals Theme Song by Ayaka".Anime News Network.RetrievedDecember 27,2024.
  49. ^Brau 1990,p. 80.
  50. ^Cavaye & Senda 2004,p. 246.
  51. ^"[REVIEW] Preview gala sets stage for grand premiere of 'La Rose de Versailles' musical".koreatimes.December 4, 2023.RetrievedNovember 14,2024.
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Bibliography

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