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Over her glittery and turbulent life, Grace Kelly divided the public, evoking admiration in some and sympathy in others.

She appears to be doing the same in death.

More than three decades after Kelly perished in a car accident on the winding roads above the Monaco coast, a new film about her life has sparked a similar debate.

“Grace of Monaco,” starring Nicole Kidman and set to open the Cannes Film Festival next Wednesday, is at the center of a trans-Atlantic fight between U.S. distributor Harvey Weinstein and French filmmakers Olivier Dahan and Pierre-Ange Le Pogam over the proper tone of the film.

The Weinstein version of “Grace” apparently shows Kelly’s story as a light fairy tale with a strong dose of wish fulfillment; French director Dahan and producer Le Pogam have fashioned a more melodramatic account that highlights Kelly’s hardships upon her arrival in the monarchy.

The French cut of the film will be shown at Cannes’ opening night.

On one level, the fight is over distribution: If Weinstein Co. can’t come to an agreement with the film’s India-based financier, Yash Raj Films, the movie could be caught in limbo in the U.S. and may not come out domestically for a year or more, if at all.

The controversy also is casting a shadow over the opening of Cannes, one of the most glamorous nights on the film calendar, which this year has added resonance given “Grace’s” local angle.

But the battle is also over a more fundamental issue – namely, who has the right to determine the legacy of an international icon.

According to several people with knowledge of the situation who declined to talk about it on the record because of the confidential nature of the discussions, Weinstein and his executives are seeking a renegotiation of an agreed-on rights fee with the film’s financier, Indian producer Uday Chopra’s Yash Raj Films, or YRF, from $5 million to $3 million, citing broken promises on the part of the French filmmakers and added costs incurred by a new cut Weinstein has made for potential U.S. release.

Neither Le Pogam, the Weinstein Co. nor a Los Angeles-based YRF executive would comment on the record about the “Grace” situation.

The battle began last spring when Weinstein, the film’s American distributor, did not like the cut delivered by Dahan, a French director best known for the 2007 Edith Piaf biopic, “La Vie en Rose,” deeming it grim and overly melodramatic.

Weinstein then sent notes to Le Pogam and Dahan for a new cut while, soon after, beginning work on his own lighter version of the film that he believed would be more in line with the script the company had initially committed to.

In October, Weinstein, having worked out a new version with a team of editors over a number of weeks, showed that new cut of the movie to several Hollywood insiders.

But when Dahan was sent that version he blew up and took to the media, telling French newspaper Liberacion in November: “When you confront an American distributor like Weinstein, not to name names, there is not much you can do. Either you say, ‘Go figure it out with your pile of ...’ or you brace yourself so the blackmail isn’t as violent.”

Le Pogam and Dahan in the meantime worked out their own new version of the film that incorporated some of Weinstein’s suggestions but retained much of what Dahan originally had in what’s come to be known as “the French version.” (Dahan’s original director’s cut was far darker than either cut and is no longer in play.)

According to those familiar with the American and French versions, the two cuts deviate only in about five minutes’ worth of scenes – but they are crucial moments, spelling big differences in the overall tone and feel of the film.

The controversy shines a light not only on the murky world of international film financing and distribution but also on the slippery nature of film editing, in which the same script can be turned into vastly different movies.

“It is strange to have two fundamentally different movies based on one set of pages,” said Arash Amel, the film’s screenwriter who also served as one of its producers. “It almost feels like I’ve written a play and I’m seeing two different stagings of the work.”

Kelly famously met Prince Rainier while on a trip to the Cannes Film Festival in 1955 and married him the following year, leaving behind a flourishing career in Hollywood to start a new life and family on the Riviera.

The Weinstein version tells that story with a Capra-esque touch, offering a fairy tale in which an American actress travels to the principality and, despite some struggles, reinvents herself as the princess of Monaco. It also contains a fair amount of romance.

The French version, set to be released in France via Le Pogam partners Gaumont and TF1, is a darker, more tragic story in which Kelly battles with a petulant Prince Rainier soon after arriving in Monaco and is seen suffering in several moments of the film as the fairy-tale aspects are muted in favor of melodrama.