In cinema, where every illusion becomes poetry, a chandelier does more than illuminate – it tells a story. Sometimes it’s a status symbol, like in Marie Antoinette; other times, a speaking deus ex machina, like Lumière in Beauty and the Beast; and sometimes, it’s a tragic force, wielding light and crystals to kill, as seen in The Phantom of the Opera. As the film begins, we choose to follow the white rabbit, letting ourselves be swept away by the colours, the vibes, and the atmosphere – ready to be enchanted, even by the beauty of a crystal chandelier.
Chandeliers in cinema are more than just set pieces; they activate concepts—like luxury, power, or drama. Sometimes, they are masterpieces of design, elements of a grand machine crafted to evoke the sense of wonder cinema has pursued since its inception. We can view them as part of the scenery and a point where cinema, history, and art converge.
The Baroque Chandelier in “The Great Gatsby”: Luxury and Poetic Anachronisms
In 2013, Baz Luhrmann directed a new version of The Great Gatsby, aiming to revive a world he described as ‘sexy, visceral, and modern’. The film is a visual spectacle that blends the opulence of the 1920s with contemporary frenzy. For this reason, set designer Catherine Martin, Luhrmann’s wife, crafted a stylized and hybrid version of 1920s New York. Daisy Buchanan’s mansion perfectly exemplifies this approach: a mix & match of Art Deco furnishings, where everything is designed to exaggerate, expressing the film’s idea of ‘never enough’.
The candelabras and chandeliers in both Daisy and Jay Gatsby’s homes are emblematic of this aesthetic: they are crafted from Murano glass or designed to be intentionally excessive and baroque. But there is more: in The Great Gatsby, the chandelier also appears as a coat inspired by Prada’s Spring/Summer 2010 collection, made of crystal drops held together by a mesh of metal rings. That exemplifies Luhrmann’s capacity to blend 1920s elements with postmodern influences and creates a visual pastiche that plays with the symbols of luxury.
The Glass Chandelier in “Breakfast at Tiffany’s”: when Dreams are out of Reach
In one of the iconic scenes from Blake Edwards’ Breakfast at Tiffany’s, where Holly Golightly, portrayed by Audrey Hepburn, pauses with coffee and croissant in front of Tiffany’s window, a chandelier is reflected in the background mirror. Though made of glass, this chandelier shines with a brilliance similar to the jewels Holly admires daily on 5th Avenue, jewels she can never afford.
The chandelier’s crystals, simulating the preciousness of diamonds, reflect the dreams Holly harbours for a life illuminated by beauty and wealth. Yet, hidden in this splendour is the shadow of reality, which will eventually force her to confront her limitations and the true nature of her impossible desires.
The Golden Chandelier in “Beauty and the Beast”: From Disney Fairy Tale to Versailles
In the 1991 animated classic, lighting a spark in the heart of the Beast, transformed by a curse, is so crucial that one of the key characters is a candelabra: Lumière, who guides the Beast and all the inhabitants through a journey of redemption and transformation. In the centre of the castle’s grand ballroom hangs a magnificent golden chandelier: this piece is featured both in the 1991 animated version and in the 2017 live-action remake.
In the live-action version, its design draws inspiration from the majestic Hall of Mirrors in the Palace of Versailles. This connection underscores the opulence of the Beast’s castle, a fusion of French Rococo influences with other 18th-century European styles.
The Swarovski Chandelier as a Symbol of Destruction in “The Phantom of the Opera”
In Joel Schumacher’s 2004 musical melodrama, the majestic chandelier, crafted with over 20,000 Swarovski crystals and weighing two tons, plays a pivotal role in the plot. The story opens in 1919 with the auction of this object, a narrative portal that transports the audience back to 1870, to the early days of the Paris Opera House.
This powerful assemblage of crystals and antique design is used by Erik, the Phantom—tormented both physically and emotionally—to punish the new opera house managers who disregard his demands. The chandelier became the symbol of his destructive power and despair, embodying the chaos he unleashes when he doesn’t get what he wants. The climax of Erik’s fury is emphasised by his act of bringing the chandelier crashing down from the theatre ceiling, transforming a piece of exquisite beauty into an instrument of death and destruction, marking a crucial turning point in the story.
The Swarovski Chandelier in “Black Swan”: The Dual Nature of Success
Darren Aronofsky’s psychological horror film uses lighting masterfully to accompany the dark turn in Nina Sayers’ fragile mind as she transforms from White Swan to Black Swan, with her dark side ultimately prevailing.
When the transformation is complete, and Nina finally embodies the Black Swan, she dances in the final scene, illuminated by a row of Swarovski crystal chandeliers from the Schonbek collection, chosen by set designer Thérèse DePrez. These chandeliers lend the scene an icy beauty, symbolizing the glittering trap in which Nina is: a cage of perfection and beauty that drives her toward self-destruction. The Black Swan’s dark soul clashes with the bright chandeliers, which sway ominously during the ballerina’s final danse macabre.
The Baroque and Gilded Glass Chandelier in “Marie Antoinette”
In 2006, Sofia Coppola reinterpreted Versailles through a pop lens, blending contemporary poses, exaggerated aesthetics, stuccoes, and pastel-coloured designs. The chandeliers chosen to characterize the settings play a crucial role: symbols of the fusion between past and present, some were adapted to work with electric light—a modern touch reflecting Coppola’s anachronistic approach, similar to her inclusion of New Order’s ‘Ceremony’ in the soundtrack.
Many of the baroque chandeliers used in the film are faithful original reproductions created by professionals like Mathieu Lustrerie, such as the ‘Lustre du Salon doré de Marie-Antoinette’ from the Château de Versailles. Featuring sinuous arms and elaborate decorations in gilded bronze, often adorned with rock crystals, these chandeliers cast a warm and enveloping light, enhancing the visual opulence of every scene in the film.
The Edwardian-Style Chandelier in Titanic: a Witness to Beauty Shrouded in Tragedy
At the centre of the iconic Grand Staircase in James Cameron’s masterpiece hangs a majestic chandelier, a faithful replica of the one that originally hung from the iron and glass dome of the RMS Titanic. Made of a crystal frame embellished with golden details, the chandelier was meticulously designed based on period drawings. Like many other set pieces, it had to appear authentic and help recreate the luxurious atmosphere of the first-class environments while withstanding the challenges of filming, including being underwater.
This splendid object is a silent witness to the love story between Jack and Rose as they arrange to meet beneath it. But it is also a symbol of impending tragedy. This same chandelier appears in the underwater scene at the beginning of the film when the wreckage of the Titanic, covered in marine sediment, is explored, creating a powerful visual link between the ship’s glorious past and its tragic fate.
