43 reviews
In the service of a greater falsehood
Artemisia Gentileschi was not, contrary to the impression given by this film, the first woman to earn her living as a professional painter, but she is perhaps the earliest female painter who is still well-known. (Earlier female painters such as Sofonisba Anguissola and Fede Galizia are less widely remembered today). The daughter of another famous painter, Orazio Gentileschi, she was born in 1593 and probably died at some time during the 1650s. (The exact date of her death is not known, but it is known that she was still alive and working in her early sixties). The film is not a full biography of Artemisia, but rather concentrates upon the events of her late teens, especially the trial of the painter Agostino Tassi, who was convicted of raping her.
The film has many good points. The lovely Valentina Cervi, who plays Artemisia, makes a ravishing heroine. Like another recent film about a great 17th century artist, "Girl with a Pearl Earring", it is visually beautiful and tries to capture the look of the paintings of the era. Artemisia, like many Italian painters of the early 1600s, was greatly influenced by the example of Caravaggio, especially his use of chiaroscuro, the contrast of light and dark, in order to heighten a picture's visual, dramatic and emotional impact. Some of the interior scenes in the film are clearly intended to imitate this style of painting, but director Agnes Merlet also seems to have been influenced by other artists and other artistic genres of the period, notably its still lives and landscapes. The scenes by the coast seem to have been modelled upon 17th century Dutch seascapes.
Like a number of other reviewers, however, I was disturbed by the way in which the film dealt with the facts of Artemisia's life. Now it is common for films about real historical events to take liberties with the truth, and the result is not automatically a bad or dishonest film. "Girl with a Pearl Earring", for example, which I consider to be one of the greatest films of the current decade, introduces an entirely fictitious episode into the life of a real historical figure, the painter Vermeer. It does so, however, in the service of a greater truth, in order to make some important points about artistic creativity, about social class and about friendship between men and women.
"Artemisia", by contrast, distorts the facts of its subject's life in the service of a greater falsehood. In real life Tassi was a despicable character who attempted to kill his wife, committed incest with his sister-in-law and raped a number of women; he was undoubtedly guilty of the rape of Artemisia. In the film, however, he and Artemisia are lovers, and the sex between them is purely consensual. Tassi is depicted as the victim of false accusations brought by Artemisia's father. Although Orazio loves Artemisia, and encourages her in her career, he is played by Michel Serrault as over-protective, unable to accept that his daughter could have lost her virginity voluntarily. In reality Orazio was in his late forties at the time of the events portrayed, but Serrault was nearly seventy when the film was made, a piece of casting doubtless intended to emphasise the generation gap between the passionate young woman and her puritanical old father. We also see Artemisia's famous painting of Judith decapitating Holofernes, which in reality was not painted until after Tassi's trial. Indeed, some commentators have seen this painting as representing her psychological revenge on Tassi, although it should be pointed out that this was a common subject in Italian painting at this period; both Caravaggio and Artemisia's older contemporary Galizia painted versions.
Why, I found myself wondering, did Merlet take so many liberties with history? I think that the answer was not, as some have assumed, because she simply wanted to make a soft porn film, but because she wanted to make Artemisia, who seems obsessed with drawing pictures of male genitalia, into a sexually liberated feminist heroine. The problem is that the concept of "sexual liberation" is a late twentieth century one and that it is an anachronism to introduce it into a film set in the early seventeenth century, a period when there were no reliable methods of contraception and when ideas about female honour and chastity were very different to those of today. In other respects, especially in her willingness to challenge the idea that art was an exclusively male calling, Artemisia Gentileschi can be seen as a proto-feminist, but this does not mean that it is right to see her as a woman of the 1990s transported back in time. Moreover, what sort of feminism is it which portrays as a tender lover a man who in reality was a brutal rapist? 6/10
The film has many good points. The lovely Valentina Cervi, who plays Artemisia, makes a ravishing heroine. Like another recent film about a great 17th century artist, "Girl with a Pearl Earring", it is visually beautiful and tries to capture the look of the paintings of the era. Artemisia, like many Italian painters of the early 1600s, was greatly influenced by the example of Caravaggio, especially his use of chiaroscuro, the contrast of light and dark, in order to heighten a picture's visual, dramatic and emotional impact. Some of the interior scenes in the film are clearly intended to imitate this style of painting, but director Agnes Merlet also seems to have been influenced by other artists and other artistic genres of the period, notably its still lives and landscapes. The scenes by the coast seem to have been modelled upon 17th century Dutch seascapes.
Like a number of other reviewers, however, I was disturbed by the way in which the film dealt with the facts of Artemisia's life. Now it is common for films about real historical events to take liberties with the truth, and the result is not automatically a bad or dishonest film. "Girl with a Pearl Earring", for example, which I consider to be one of the greatest films of the current decade, introduces an entirely fictitious episode into the life of a real historical figure, the painter Vermeer. It does so, however, in the service of a greater truth, in order to make some important points about artistic creativity, about social class and about friendship between men and women.
"Artemisia", by contrast, distorts the facts of its subject's life in the service of a greater falsehood. In real life Tassi was a despicable character who attempted to kill his wife, committed incest with his sister-in-law and raped a number of women; he was undoubtedly guilty of the rape of Artemisia. In the film, however, he and Artemisia are lovers, and the sex between them is purely consensual. Tassi is depicted as the victim of false accusations brought by Artemisia's father. Although Orazio loves Artemisia, and encourages her in her career, he is played by Michel Serrault as over-protective, unable to accept that his daughter could have lost her virginity voluntarily. In reality Orazio was in his late forties at the time of the events portrayed, but Serrault was nearly seventy when the film was made, a piece of casting doubtless intended to emphasise the generation gap between the passionate young woman and her puritanical old father. We also see Artemisia's famous painting of Judith decapitating Holofernes, which in reality was not painted until after Tassi's trial. Indeed, some commentators have seen this painting as representing her psychological revenge on Tassi, although it should be pointed out that this was a common subject in Italian painting at this period; both Caravaggio and Artemisia's older contemporary Galizia painted versions.
Why, I found myself wondering, did Merlet take so many liberties with history? I think that the answer was not, as some have assumed, because she simply wanted to make a soft porn film, but because she wanted to make Artemisia, who seems obsessed with drawing pictures of male genitalia, into a sexually liberated feminist heroine. The problem is that the concept of "sexual liberation" is a late twentieth century one and that it is an anachronism to introduce it into a film set in the early seventeenth century, a period when there were no reliable methods of contraception and when ideas about female honour and chastity were very different to those of today. In other respects, especially in her willingness to challenge the idea that art was an exclusively male calling, Artemisia Gentileschi can be seen as a proto-feminist, but this does not mean that it is right to see her as a woman of the 1990s transported back in time. Moreover, what sort of feminism is it which portrays as a tender lover a man who in reality was a brutal rapist? 6/10
- JamesHitchcock
- May 20, 2009
- Permalink
Good film but historically inaccurate
I'm normally a sucker for romantic films which are well-filmed and well-acted out. This is a romantic (period) film set in 17th-century Italy, but filmed in French with English subtitles. The fact that it is a period film means it will inevitably be slower-paced than films set in the modern day era, so it Will bore some. If you can overlook that fact, it is actually a really good film. The scenery, the costumes, and the cinematography are beautiful, and the main actors and actress are very compelling in their portrayals, projecting the intensity of the emotions that are running through the plot. The story is like a sad love story with an unhappy ending. Its easy to believe that this is an accurate portrayal of the real-life characters. In spite of the fact that I was really moved by the main characters and the storyline, I decided to check out the validity of the story and found out that the main theme of the movie's story - that of an sad unfinished love story - was completely fabricated.
In real life, Artemisia was raped by Tassi initially, rather than submitting to his advances willingly and passionately as the movie had portrayed. She continued to have sexual relations with him only because he had repeatedly promised to marry her. When they were in court, he had *not* admitted guilt of rape out of pity for Artemisia's torture (unlike what the movie portrays). In reality, he had tried to portray Artemisia as a loose, promiscuous woman with insatiable sexual urges. In the movie, his sister testified in court that Tassi had a wife and had sexual relations with his sister-in-law, and Tassi's character was all the while made to appear as if his sister had been slandering him regarding his alleged affair with his sister-in-law (although he admits to having had a wife back in Florence). Needless to say, in reality it wasn't really like that at all. In fact, far from it. Tassi was really responsible in the planned murder of his wife, whom he had begotten from rape. And to add to that, Tassi really had sexual relations with his sister-in-law, impregnating her in the process, but all this wasn't really mutual as well - again, he had raped his sister-in-law before.
So now we have a clear picture of the real Tassi as a multiple sex offender, what do we make of the film Artemisia's portrayal of him as a lover? We take it as an attempt to make this movie into a romantic film... that this film was never made to be historically accurate... Apart from these points just mentioned, there were other historical inaccuracies like in its interpretation of Artemisia's art (in real-life, she was never really influenced by Tassi's painting style, and she was actually considered a much better painter than Tassi ever was.) One thing remains true and its the fact that Artemisia Gentileschi has been credited as the first woman painter in history, and although her mastery of the art rivalled many of her male peers, she had always experienced difficulty in getting enough credit for her work because of her gender as a woman, in 17th century Italy.
Enjoy this film for its own sake, for it is a pretty good romantic drama, but take its historical references with a grain of salt.
In real life, Artemisia was raped by Tassi initially, rather than submitting to his advances willingly and passionately as the movie had portrayed. She continued to have sexual relations with him only because he had repeatedly promised to marry her. When they were in court, he had *not* admitted guilt of rape out of pity for Artemisia's torture (unlike what the movie portrays). In reality, he had tried to portray Artemisia as a loose, promiscuous woman with insatiable sexual urges. In the movie, his sister testified in court that Tassi had a wife and had sexual relations with his sister-in-law, and Tassi's character was all the while made to appear as if his sister had been slandering him regarding his alleged affair with his sister-in-law (although he admits to having had a wife back in Florence). Needless to say, in reality it wasn't really like that at all. In fact, far from it. Tassi was really responsible in the planned murder of his wife, whom he had begotten from rape. And to add to that, Tassi really had sexual relations with his sister-in-law, impregnating her in the process, but all this wasn't really mutual as well - again, he had raped his sister-in-law before.
So now we have a clear picture of the real Tassi as a multiple sex offender, what do we make of the film Artemisia's portrayal of him as a lover? We take it as an attempt to make this movie into a romantic film... that this film was never made to be historically accurate... Apart from these points just mentioned, there were other historical inaccuracies like in its interpretation of Artemisia's art (in real-life, she was never really influenced by Tassi's painting style, and she was actually considered a much better painter than Tassi ever was.) One thing remains true and its the fact that Artemisia Gentileschi has been credited as the first woman painter in history, and although her mastery of the art rivalled many of her male peers, she had always experienced difficulty in getting enough credit for her work because of her gender as a woman, in 17th century Italy.
Enjoy this film for its own sake, for it is a pretty good romantic drama, but take its historical references with a grain of salt.
- ininotores
- Jun 1, 2005
- Permalink
A woman ahead of her times
Watchable but compromised period drama
My sources tell me that this biopic of the one of the few influential female artists of the time has sacrificed a lot of historical veracity in the name of dramatic license. The film focuses on the earlier part of her life, specifically the relationship with her tutor Tassi, ignoring her rise to prominence later which is revealed in a pre-credit titles coda at the end of the film. Given that Artemisia Gentileschi is hardly a household name, even in the art world, I for one was looking forward to at least some degree of enlightenment towards the subject. That Tassi murdered his wife and child and had an incestuous relationship with sister is ignored by the film, instead playing him as straightforward love interest of little other dimension. The featured painting of 'Judith and Holofernes' was also painted some eight years after the events portrayed. Some concessions to cinematic narrative structure are understandable, but to totally disregard key facts is unforgivable. As for Artemisia herself, there is little surviving information other than a basic outline of her life, but dramatically director Merlet doesn't seem to know which way to play this. Little insight is provided for her as a person, nor for her motivation as an artist, other than that as a martyr to the patriarchal order of the day archetype. As such, she is never truly convincing as the child prodigy artist. Instead her relevance is reduced to that of a cipher in a bog-standard romantic tragedy, and the overwhelming thought as one leaves the cinema is 'So what?' On a visual level, the film is colourful, if a little conservative, at its best when taking in the rigorous working methods and assorted paraphernalia of the artists practising at the time. Unfortunately this is the sum of the informative merit in what amounts to no more than another polished yet undistinguished costume drama with the odd dash of titillatory nudity. For all that, Artemisia herself (Valentina Cervi) is certainly a little cutie and the film is never a chore to watch, but at the end of the day it merely whetted my appetite for more knowledge on the subject.
The movie that was not
The movie looked like a walk-through for "Immoral Study". Most likely I never got much involved with the burning need of the female artist to immortalize male nudes and thus all that fuss about "Now, who drew this penis?!" sounded a bit gratuitous. Dialogues in this movie are rather dreadful, albeit visually this movie got its moments. I almost dig it when Tassi got into painting a mental picture but then movie weered back onto penises. Highly recommended to those who has not seen one in a while.
- grendel-28
- May 29, 1999
- Permalink
Jon Hume?!?!
older
Artimisia was on late last night. At first I didn't think I would like it, but seeing I didn't feel like sleeping yet and nothing else being on, I continued watching and felt myself intrigued by the young Artimisia, a virgin, pure and passionate. Her romance with the older Tassi envoked recognisable feelings. Even though the film is based on a very romantisised level and not reality, I loved it a lot more than the usual biographys or costume drama's. Great play, great camerashots, great music and texts. I loved it and I want more of it! :-)
- indigo_skies
- Feb 26, 2000
- Permalink
interesting and not nearly as raunchy as you'd expect
I picked up this film not realizing it was a "controversial film"--having initially gotten an NC-17 rating before being changed to R after appeal. Well, apart from a few penis shots here and there that were appropriate for the film (these were nude models the lady was painting), this was not all that "rauchy" a film. Instead, it is an interesting bio-pic about an early female painter and her quest for acceptance--as well as an ensuing scandal when she began to sleep with her much older AND married mentor. The acting was good and the cinematography was good as well. Perhaps the only real short-coming is that the story wasn't all that compelling AND I had a hard time caring about the female and male leads. So, overall it was good but a tad flat.
- planktonrules
- Nov 12, 2005
- Permalink
It's like a classical painting come to life!
This is a film about 17th Century Italian artists and one artist in particular, a woman Artemisia, an unheard of profession for females at that time, and she dared to paint the male nude detailing his unique musculature.
The camera work is principally indoors for that is where the artists mainly worked. There are some great shots. Close-ups by candle light suggest the beautiful work of the classical painters and it is fascinating to watch the painters and their students supported by elaborate scaffolding brushing in details of religious frescoes. It is not surprising that the artistic elements of the film (costumes,faces, make-up) are quite superbly authentic because the Italian churches have preserved all these details in their frescoes for centuries. The beautiful Artemisia is urged by her father to study under the great Florentine artist, Tassi, who has become expert in the art of perspective and landscape painting (something very new) but the unsuspecting Artemisia is introduced to more than new techniques in painting. After posing for her, Tassi violently rapes her. Her father is outraged. Court proceedings follow.
This romantic drama has a fairly simple story with an unsatisfactory ending. The outstanding feature of the film is its artistic presentation and attention to detail. Scenes such as women running across a field with the wind billowing their voluminous clothing add wonderful effects.
Artemisia says she paints to please herself; her father paints to please others. As for this film, it will please most, I think.
The camera work is principally indoors for that is where the artists mainly worked. There are some great shots. Close-ups by candle light suggest the beautiful work of the classical painters and it is fascinating to watch the painters and their students supported by elaborate scaffolding brushing in details of religious frescoes. It is not surprising that the artistic elements of the film (costumes,faces, make-up) are quite superbly authentic because the Italian churches have preserved all these details in their frescoes for centuries. The beautiful Artemisia is urged by her father to study under the great Florentine artist, Tassi, who has become expert in the art of perspective and landscape painting (something very new) but the unsuspecting Artemisia is introduced to more than new techniques in painting. After posing for her, Tassi violently rapes her. Her father is outraged. Court proceedings follow.
This romantic drama has a fairly simple story with an unsatisfactory ending. The outstanding feature of the film is its artistic presentation and attention to detail. Scenes such as women running across a field with the wind billowing their voluminous clothing add wonderful effects.
Artemisia says she paints to please herself; her father paints to please others. As for this film, it will please most, I think.
- raymond-15
- Dec 16, 2001
- Permalink
Treason or license?
The film of Artemisia may be considered treason, or as true artistic license.
Which might one aver?
In documented history, Artemisia Gentileschi was subjected to the thumbscrew, and still affirmed that she was r***ed, as Mary Garrard and Gloria Steinem have eloquently affirmed.
In the movie, under a different torture, she refused to condemn her lover/violator.
How may a movie deviate so much from received history, yet still inform the human heart?
The answer is not so hard to find. In the movie, the director and cast had filled a gaping hole in the historical record, with the power of imagination.
That led to a conclusion that differs from the record.
So be it. I find _both_ the record and the movie to be compelling.
In both the movie and (it seems) in history, Artemisia was a painter, before all else.
For that vision, framed in ravishing (sic) film composition, I am truly grateful.
Seldom have I seen a movie that so compelled my eyes.
David Broadhurst
Which might one aver?
In documented history, Artemisia Gentileschi was subjected to the thumbscrew, and still affirmed that she was r***ed, as Mary Garrard and Gloria Steinem have eloquently affirmed.
In the movie, under a different torture, she refused to condemn her lover/violator.
How may a movie deviate so much from received history, yet still inform the human heart?
The answer is not so hard to find. In the movie, the director and cast had filled a gaping hole in the historical record, with the power of imagination.
That led to a conclusion that differs from the record.
So be it. I find _both_ the record and the movie to be compelling.
In both the movie and (it seems) in history, Artemisia was a painter, before all else.
For that vision, framed in ravishing (sic) film composition, I am truly grateful.
Seldom have I seen a movie that so compelled my eyes.
David Broadhurst
Artemisia Gentileschi's story reduced to soft porn
As others have noted, this movie is criminally inaccurate in its portrayal of the artist's life and I for one was very annoyed and offended... by its transformation of her rape into a tragic love affair, by the implication that her rapist was responsible for 'awakening her talent,' by its complete disregard for her work, by the way it turned her into a sex object, on and on, you get the idea. Also, I find it disturbing that people who aren't familiar with Gentileschi will see this film and walk away with that kind of impression of her.
Beautiful film, no biography
I enjoyed every moment of this beautiful film and was intrigued about this female painter I had never heard of before. So I set out exploring her life and work afterwards. As could be expected, I found out that the film was not exactly historically accurate. I was a little astounded however by the very negative comments on the film because of this inaccuracy. Come on, guys, a film isn't and shouldn't be a biography (nor a novel!). Any historical film distorts reality, because it should be a work of art in its own right. A film director is fully entitled to use elements from reality and history to create a world of his own. Artemisia is a wonderful film and I think it brought many people (including some that now give negative comments) to explore the life and work of this fascinating artist.
Beautifully done but lacking the passion of the subject.
A fragment in the life of one of the first female painters to achieve historical renown, "Artemisia" tells the true story of a young Italian woman's impassioned pursuit of artistic expression and the vicissitudes she encounters. The film features sumptuous costuming and sets and a good cast and acting. However, it is muddled in its attempt to depict the esoterics of the art and the time and is uninspired in its representation of the passion of the artist as painted on canvas and explored through her involvements with men. A good film for those interested in renaissance painting or period films.
Biography of a master painter turned into painfully inaccurate bodice ripper.
Easy to find a flaw
Another review of this movie stated that it is difficult to find a flaw in it. Perhaps that is true. It IS a very enjoyable movie. However, the events of the movie are not the events of Artemisia Gentileschi's life. This film portrays Tassi as an inspiration to Artemisia, and it portrays their sexual relationship as consensual. History proves differently. Artemisia Gentileschi was a far superior painter to Tassi. They also painted very different things. The depiction of the sexual relationships even more troubling. Artemisia maintained under brutal torture that Tassi raped her. Much of her greatest work addressed the themes of rape, and sex, and power. It makes me sad that this great artist had to struggle so hard in her life, struggle to be believed and taken seriously. It makes me even more sad that a film about her life would tell the story her attacker would like us to believe. It is as if the woman has been raped twice.
- coolbluegreen
- Jul 8, 2002
- Permalink
ART, ART and ART
I'm fan of ART, I like anything about Art, I like paintings, sculptures, etc. This movie shows it, so I like it a lot, it shows how a woman wants to paint anything about Art, especially naked bodies, but she can't do it because of her strict family (father), at the beginning of the movie she painted herself naked, but she wanted a man for her paintings, but her family didn't let her paint naked men because it's against the moral. Even so Artemisia could paint her boyfriend and her art teacher completely naked. She falls in love with her art teacher, and it seems the art teacher is absolutely in love with her too, so at the ending he sacrifices his freedom for hers by lying. He said that he raped her, but it wasn't true. Artemisia fell in love with him, but if she says that she will suffer a lot, because in the trial in which Artemisia, her father and the Art teacher were, somebody was hurting her artistic hands to say the truth. I think this a great movie about ART, and an artistic love, It's worth watching. Valentina Cervi is great as Artemisia, she acts very well, I also like her performance in "The portrait of a lady" as Pansy Osmond. 8.5/10
- hernan_amado
- Jul 18, 2001
- Permalink
Underwatched, Amazing movie.
Injustice to Artemisia again!
Artemisia was a beautiful film
I thought this movie was stunning, with completely outstanding performances by Valentina Cervi (Artemisia Gentileschi).
Cervi portrays Artemisia so beautifully, with tentative yet confidant mannerisms, her hands mapping out an idea before moving her models into place. The passion to which Artemisia gives to her art is just spectacular to watch.
Although not each character was overtly beautiful, this made the film more realistic as the facial hair and clothing was perfect for that point in time.
Overall i thought this film was fantastic.
Cervi portrays Artemisia so beautifully, with tentative yet confidant mannerisms, her hands mapping out an idea before moving her models into place. The passion to which Artemisia gives to her art is just spectacular to watch.
Although not each character was overtly beautiful, this made the film more realistic as the facial hair and clothing was perfect for that point in time.
Overall i thought this film was fantastic.
Abysmal soft-core drivel.
I didn't think the French could make a bad movie, but I was, clearly, very wrong. As has been said before, this film essentially uses its title character as a point of departure; its portrayal of her life and person have little or nothing to do with the real Artemisia Gentileschi.
The script is awful -- pretentious, stilted, and vapid -- and its rewriting of the facts is unusually offensive even in a genre that all too often makes its living by distorting, rather than retelling, history. Along with some fairly decent set design, Valentina Cervi's physical charms are the primary asset of this movie, and it's obvious from the beginning that the filmmakers were aware of this too; they waste no time in contriving various "erotic" sequences which have far more to do with titillation than with plot or character development. Unfortunately, the appeal of seeing a pretty young girl in a state of feigned sexual arousal cannot, and does not, sustain this movie. The acting is unremarkable, and the score is all too generic despite an interesting chord or two. The cinematography is OK, and there are some pretty colors, but there are also some pretty ridiculous sequences using distorted-lens effects more appropriate for a 1960s freakout movie than a costume drama. In any event, the script leaves the camera dwelling all too often on Artemisia's body, and all too seldom on her paintings.
All told, a near-complete failure. It's not intelligent or tasteful enough to be a serious film, and it's too slow and pretentious to work as soft-core pornography. So the French can fail, after all!
The script is awful -- pretentious, stilted, and vapid -- and its rewriting of the facts is unusually offensive even in a genre that all too often makes its living by distorting, rather than retelling, history. Along with some fairly decent set design, Valentina Cervi's physical charms are the primary asset of this movie, and it's obvious from the beginning that the filmmakers were aware of this too; they waste no time in contriving various "erotic" sequences which have far more to do with titillation than with plot or character development. Unfortunately, the appeal of seeing a pretty young girl in a state of feigned sexual arousal cannot, and does not, sustain this movie. The acting is unremarkable, and the score is all too generic despite an interesting chord or two. The cinematography is OK, and there are some pretty colors, but there are also some pretty ridiculous sequences using distorted-lens effects more appropriate for a 1960s freakout movie than a costume drama. In any event, the script leaves the camera dwelling all too often on Artemisia's body, and all too seldom on her paintings.
All told, a near-complete failure. It's not intelligent or tasteful enough to be a serious film, and it's too slow and pretentious to work as soft-core pornography. So the French can fail, after all!
Stunning work of Art
A romantic drama about the 17th century italian artist Artemisia Gentileschi, the first woman in western art to be recognised officially by the guilds as a painter and the central figure in a notorious rape trial. By far the most striking element of this film is the smorgasbord of sensual imagery. From the rustic, artistic sets to the rich costumes to the extremely textural shots of skin this one just screams "Touch Me". The camera work is spot on and draws the viewer into the mise en scene completely unawares of what is happening to him or her. Very seductive.
The message of the film is quite simply that art conquers all. Love certainly doesn't and lust is portrayed in an at times farcical manner. In particular the artists orgy scene viewed with delirious humour through the window by our herioine (Artemisia) and the troubling sex scene with her teacher both reinforce the pain, literally, and the bestiality of the sex act.
It's not surprising that her mature work dealt with violent acts of revenge and holy sacrifice in light of what she went through
The shots of skin, sea, sand, canvas and paint dominate this film as the director attempts to create a living canvas on the screen. For the most part this is what is achieved.
The dialogue and plot are almost arbitrary to the dominance of the images, and as such this is an almost edible and tactile piece of work.
The message of the film is quite simply that art conquers all. Love certainly doesn't and lust is portrayed in an at times farcical manner. In particular the artists orgy scene viewed with delirious humour through the window by our herioine (Artemisia) and the troubling sex scene with her teacher both reinforce the pain, literally, and the bestiality of the sex act.
It's not surprising that her mature work dealt with violent acts of revenge and holy sacrifice in light of what she went through
The shots of skin, sea, sand, canvas and paint dominate this film as the director attempts to create a living canvas on the screen. For the most part this is what is achieved.
The dialogue and plot are almost arbitrary to the dominance of the images, and as such this is an almost edible and tactile piece of work.
Sadly, this is historical piffle about great women artist
It figures this is a French film, LOL, with the emphasis on young girls with much older men...why is it the French are so fixated on this kind of thing? When the age difference is this great, it really comes off as pervy! Valentina Cervi is beautiful (she bears a strong resemblance to Olivia Hussey, of Zeffirelli's '68 Romeo and Juliet, set in a similar period), but she looks about 15 and the actor playing Tassi, her painting instructor, looks...well, 50 is KIND.
Other posters have done the work of explaining the historical record (unusually detailed in this case) of the real Artemisia, a great artist and one of the earliest recognized female painters of this period (17th century). Her story speaks to us in modern times particularly because of the age-old accusation that "all great artists were men" -- she pretty much blasts that assertion to bits -- and because the story of her rape trial is so poignant. Not only was she clearly assaulted, and forced into a degrading sexual relationship (because in those days marriage to your assaulter was the only way to avoid social shame), but Tassi was a serial rapist and possibly killed his wife and child.
The movie does a terrible disservice by inverting this truly fascinating and remarkable real life story -- very dramatic and not in need of any "spicing up" -- because in some weird Frencified way, it's "hotter" to have an oversexed teenager drawing male sexual organs and having a hot love affair with a man old enough to be her grandfather. That's "sexy" -- the truth is boring and seems too feminist/politically correct.
It also disturbs me that this is ONLY part of Artemisia life considered interesting enough to film. The fact that she painted for decades (her famous painting of Judith beheading Holfernes was painted AFTER, not before the rape), that she was the first woman admitted to the prestigious Florentine Academy, that she went on to have children...oh that's boring stuff. After all, that's about a middle aged woman and they aren't "hot" like teenagers.
I understand that there is a lot of creative license in making a film (or a book) about a real historical character. You need to create dialog, have subplots, create dramatic structure. Certainly some details can be sacrificed -- it's no big deal if the dates are moved a few years, or if Artemisia is played by a blonde actress (when we know from her self portraits that she was a brunette...and a big boned one, not a skinny minny), or something like that. But to turn her story around on her, and make rape into a romance is actually sick and disturbing. It's even worse because the director is female. She should be horribly ashamed of herself!
If you LIKE this (and I know some people could care less about the real woman artist and just like period costumes and hot sex), you will probably like "Dangerous Beauty" with Rufus Sewell and Catherine McCormack. Similarly based on heavily re-written history, with lots of heaving bosoms and jewel encrusted goblets: Bon Appetit!
Other posters have done the work of explaining the historical record (unusually detailed in this case) of the real Artemisia, a great artist and one of the earliest recognized female painters of this period (17th century). Her story speaks to us in modern times particularly because of the age-old accusation that "all great artists were men" -- she pretty much blasts that assertion to bits -- and because the story of her rape trial is so poignant. Not only was she clearly assaulted, and forced into a degrading sexual relationship (because in those days marriage to your assaulter was the only way to avoid social shame), but Tassi was a serial rapist and possibly killed his wife and child.
The movie does a terrible disservice by inverting this truly fascinating and remarkable real life story -- very dramatic and not in need of any "spicing up" -- because in some weird Frencified way, it's "hotter" to have an oversexed teenager drawing male sexual organs and having a hot love affair with a man old enough to be her grandfather. That's "sexy" -- the truth is boring and seems too feminist/politically correct.
It also disturbs me that this is ONLY part of Artemisia life considered interesting enough to film. The fact that she painted for decades (her famous painting of Judith beheading Holfernes was painted AFTER, not before the rape), that she was the first woman admitted to the prestigious Florentine Academy, that she went on to have children...oh that's boring stuff. After all, that's about a middle aged woman and they aren't "hot" like teenagers.
I understand that there is a lot of creative license in making a film (or a book) about a real historical character. You need to create dialog, have subplots, create dramatic structure. Certainly some details can be sacrificed -- it's no big deal if the dates are moved a few years, or if Artemisia is played by a blonde actress (when we know from her self portraits that she was a brunette...and a big boned one, not a skinny minny), or something like that. But to turn her story around on her, and make rape into a romance is actually sick and disturbing. It's even worse because the director is female. She should be horribly ashamed of herself!
If you LIKE this (and I know some people could care less about the real woman artist and just like period costumes and hot sex), you will probably like "Dangerous Beauty" with Rufus Sewell and Catherine McCormack. Similarly based on heavily re-written history, with lots of heaving bosoms and jewel encrusted goblets: Bon Appetit!
- LilyDaleLady
- Jul 22, 2005
- Permalink
Peptobismia
An awful film! It must have been up against some real stinkers to be nominated for the Golden Globe. They've taken the story of the first famous female Renaissance painter and mangled it beyond recognition. My complaint is not that they've taken liberties with the facts; if the story were good, that would perfectly fine. But it's simply bizarre -- by all accounts the true story of this artist would have made for a far better film, so why did they come up with this dishwater-dull script? I suppose there weren't enough naked people in the factual version. It's hurriedly capped off in the end with a summary of the artist's life -- we could have saved ourselves a couple of hours if they'd favored the rest of the film with same brevity.
- itsonlywill
- Apr 20, 2008
- Permalink
A Review
I have seen the film and was very disappointed in the amount of historical inaccuracies of it. Although the cinematography and actors were impressive, events that occurred in Artemisia's life were completely distorted. Besides her age, which may seem trivial, the events surrounding her relationship with Tassi and the rape charges was not fully investigated. Records of the 7-month trial are available and should have been conferred with for the film! Technical advisors (such as historians and art historians) should have been sought out for consultation on the films accuracy's and inaccuracies! To tell the story of probably the first European acclaimed female artist in the Early Modern Period should have been taken more seriously! It is sad that to tell an significant part of history seems less important than the gross income and popularity it will achieve today.
Historical and Biographical deliberate Falsification!!!
Grrrrr.....SHAME to the the director and producer...this is where censors ought to step up and copyrights put into force (using the names, etc.) !! A deliberate total falsification of the historical events, the movie is a pornographic fantasy of the director. Turning a violent rape of a young girl into a soft-core sex-affair is just a criminal offense, and an insult to the artist...I feel total resentment GGGrrrrrrr.......BAD BAD BAD!!!
Historically and Biographically this movie has absolutely nothing to do with the great Artemisia Gentileschi (July 8, 1593–1652), the Italian Early Baroque painter, today considered one of the most accomplished female painters in the generation influenced by Caravaggio.
DON'T WATCH IT!!!! ... and definitely not for the young!
Historically and Biographically this movie has absolutely nothing to do with the great Artemisia Gentileschi (July 8, 1593–1652), the Italian Early Baroque painter, today considered one of the most accomplished female painters in the generation influenced by Caravaggio.
DON'T WATCH IT!!!! ... and definitely not for the young!
- ursulahemard
- Dec 19, 2011
- Permalink