On May 16, 2023, the 76th Cannes Film Festival opened with a flourish, unveiling Jeanne du Barry, a French-language historical drama directed by and starring Maïwenn, with Johnny Depp stepping into the role of King Louis XV. The film, which marked Depp’s return to the big screen after a three-year hiatus following his high-profile defamation trial with Amber Heard, was met with a seven-minute standing ovation. Amid the buzz of controversy and redemption, one aspect stood out: Depp’s portrayal of the 18th-century French monarch emerged as one of the funniest performances of his career, blending his signature eccentricity with a surprising dose of humor that left audiences both amused and enchanted.

Depp, now 62, has long been celebrated for his quirky, transformative roles—think Captain Jack Sparrow’s drunken swagger or Willy Wonka’s whimsical menace. Yet, Jeanne du Barry offered something fresh: a comedic take on a historical figure that defied expectations. Playing Louis XV, the aging king smitten by the courtesan Jeanne Bécu (Maïwenn), Depp infused the character with a droll, self-aware charm that turned a potentially staid period piece into a delightful romp. His performance, delivered entirely in French—a language he honed during his 14-year relationship with Vanessa Paradis—added an unexpected layer of hilarity, with his accent and expressive antics stealing the show.

The film’s plot follows Jeanne’s rise from a working-class background to becoming Louis XV’s last official mistress, a scandal that rocked the Versailles court. Maïwenn, who also co-wrote and produced the $22.4 million project, envisioned a lavish yet grounded narrative, shot on 35mm film to evoke Stanley Kubrick’s Barry Lyndon. However, it was Depp’s portrayal that injected levity into the opulent setting. From his first appearance, marching toward the court in a blue frock coat with a bemused half-smile, Depp’s Louis XV seemed less a regal figure and more a bemused spectator to his own absurdity. Critics noted his “purring delivery” and “peculiar royal dandy” persona, with facial twitches and eye rolls that echoed Charlie Chaplin’s silent film expressiveness.

One standout moment came during a morning routine scene, where Louis, surrounded by fawning attendants, makes funny faces at Jeanne while being powdered and wigged. Depp’s exaggerated grimaces—complete with a winking nod to the camera—drew laughter from the Cannes audience, a testament to his ability to find humor in the mundane. Another highlight was his interaction with the king’s daughters, portrayed as jealous harpies. With a single imposing stare-down, Depp turned a potential confrontation into a comedic beat, his Louis XV dismissing their tantrums with a theatrical sigh that had viewers chuckling. These moments showcased his knack for physical comedy, a skill honed from Edward Scissorhands to Pirates of the Caribbean.

Maïwenn’s direction amplified Depp’s humor, opting for minimal dialogue to let his expressiveness shine. She likened his performance to a silent film actor, a nod to his ability to convey emotion through subtle gestures—a raised eyebrow here, a sly grin there. This approach worked brilliantly, especially given Depp’s limited French fluency. Working with a coach to master 18th-century pronunciation, he delivered lines with a natural cadence that often veered into parody, enhancing the film’s satirical bite. For instance, his delivery of “Je ne peux pas vivre sans toi” (I can’t live without you) to Jeanne was laced with such mock sincerity that it elicited giggles, a far cry from the brooding intensity of his recent roles.

The humor wasn’t lost on critics. Catherine Balle of Le Parisien gave the film 4.5 stars, praising its “chiseled dialogues” and Depp’s “osmosis” with Maïwenn, while Eric Neuhoff of Le Figaro called it “brilliant” with a “pleasing effect.” Posts on X echoed this sentiment, with fans noting his “classical Depp performance” and “romance, humor, and drama with a few words.” Even detractors, like The Guardian’s review of his “strange expression of irony,” acknowledged the comedic undertone that made Louis XV memorable. The seven-minute ovation at Cannes, where Depp was seen tearing up alongside Maïwenn, underscored the audience’s delight in his unexpected levity.

This comedic turn wasn’t entirely surprising given Depp’s history. His Kentucky upbringing, marked by poverty and a mother who waitressed to support the family, instilled a resilience that often surfaced in his humor. His early days with the band The Kids and his brief gas station mechanic job—ended by a wheel-flying fiasco—taught him to laugh at life’s absurdities. That spirit carried into roles like the bumbling Raoul Duke in Fear and Loathing in Las Vegas (1998), where his drug-addled antics at Cannes drew laughs, and the perpetually tipsy Jack Sparrow, a character that redefined pirate comedy. Jeanne du Barry built on this legacy, with Depp’s Louis XV as a king who seemed perpetually amused by his own courtly excess.

The film’s context added to the humor’s impact. Released amid Depp’s legal battles—winning $10 million in the 2022 trial but losing U.S. film roles—Jeanne du Barry was a bold choice for Cannes’ opening night. Some criticized the selection due to Heard’s allegations, but Depp’s performance disarmed detractors with its lightness. His quip at the Cannes press conference, “I keep wondering about the word ‘comeback’ because I didn’t go anywhere,” delivered with a wry grin, set the tone for a portrayal that refused to take itself too seriously. This self-awareness, paired with Maïwenn’s lavish costumes and Versailles settings, created a comedic contrast—think a jester in a king’s robes.

Yet, the humor wasn’t without nuance. Depp’s Louis XV carried a melancholic edge, reflecting the king’s real-life ennui and the film’s subtle nod to the looming French Revolution. His interactions with Jeanne, marked by playful exchanges and a knowing glance during her gynecological inspection scene, balanced comedy with tenderness. Maïwenn’s decision to cast herself, despite age and look discrepancies with the historical Jeanne, added a meta-layer of amusement, with Depp’s Louis playing off her earnestness to hilarious effect. The result was a portrayal that felt both authentic and absurd, a rare feat in historical drama.

The global reception varied. In France, where Jeanne du Barry grossed $4.1 million in two weeks across 650 screens, audiences embraced Depp’s charm, with Le Pacte’s Jean Labadie predicting up to one million admissions. In the U.S., where Vertical Entertainment released it on May 2, 2024, reviews were mixed—Variety called it “too polite,” but The Daily Beast hailed Depp as a “magnetic presence.” On X, fans praised his “fantastic French king” role, while others found his accent “distractingly comical,” a critique that only fueled the laughter. The film’s streaming debut on Paramount+ later in 2024 kept the conversation alive, with viewers marveling at Depp’s ability to turn a king into a clown.

This portrayal also reflected Depp’s personal journey. After losing $650 million to lavish spending and legal fees, selling properties like his Malibu beach house in 2025 for an orphanage, and facing Hollywood’s cold shoulder, Jeanne du Barry was a pivot. His humor here was a shield, a way to reclaim his narrative with a wink rather than a fight. The Cannes ovation, where he teared up, suggested a man finding joy in his craft again, a sentiment echoed in his 2023 Independent interview where he dismissed comeback labels.

As the sun set on June 17, 2025, Jeanne du Barry remained a cultural touchstone, with Depp’s funniest portrayal yet sparking debates and laughter. It wasn’t just a film—it was a reminder of his enduring talent, blending comedy with humanity. For fans, it was a gift; for Depp, a triumphant return to the stage he never truly left, leaving the world smiling through tears of admiration.