Agnes Merlet's biographical drama tells the story of the woman credited as history's first important female painter. A fascinating subject to be sure, but like many films of its kind, it doesn't quite work as either biography or drama.
Beginning promisingly but degenerating by the end into legal melodrama (much like Warners' upcoming period drama "Dangerous Beauty"), "Artemisia" registers as a disappointment. Re-cently showcased at the 15th Miami Film Festival, it is due for domestic theatrical release soon, courtesy of Miramax Zoe.
The fetching Valentina Cervi plays Artemisia, the talented daughter of well-known 17th century Italian painter Orazio (Michel Serrault, in a superb performance). Thrown out of the convent after her nude self-portraits are discovered, Artemisia comes under the tutelage of her father, who recognizes his offspring's talent. He encourages her to pursue her dream, despite the fact that women at the time were not allowed to study at the Academy and were certainly not permitted to sketch a male subject in the nude.
Artemisia falls under the artistic and sexual spells of arrogant, well-known painter Agostino Tassi (Miki Manojlovic), who be-comes both her tutor and lover. Tassi is a sexual libertine, but he sees no conflict between his debauched lifestyle and his commission to paint religious paintings for the Church. This appals the dignified Orazio, and when he discovers his daughter's affair, he becomes distraught and accuses Tassi of rape. The resulting trial forms the climax of the film.
"Artemisia" is most successful when depicting its subject's passion for art and the process by which she learns her craft. The milieu is re-created with lush detail and historical verisimilitude, and the beautiful photography, imbued with golden tones, gives many shots the feel of a Renaissance painting.
Still, it could have provided more information; the screenplay often proves frustratingly sketchy about the artistic and social climate of the period. And the love affair, which becomes the main focus, is familiar and not particularly interesting stuff, though Cervi does provide a compelling portrait of a young woman being indoctrinated into her sexual flowering. It's understandable that the filmmakers would want to concentrate on the dramatic trial, but the melodramatic conclusion is far less engrossing than the character herself.
ARTEMISIA
Miramax Zoe
Credits: Director: Agnes Merlet; Screenplay: Agnes Merlet, Christine Mille, Patrick Amos; Producer: Patrice Haddad; Executive producers: Lilian Saly, Patricia Allard, Daniel Wuhrmann; Director of photography: Benoit Delhomme; Editor: Guy Lecorne; Music: Krishna Levy. Cast: Artemisia: Valentina Cervi; Orazio: Michel Serrault; Agostino: Miki Manojlovic; Cosimo: Luca Zingaretti; Costanza: Emmannuelle Devos. No MPAA rating. Running time -- 102 minutes. Color/stereo.
Beginning promisingly but degenerating by the end into legal melodrama (much like Warners' upcoming period drama "Dangerous Beauty"), "Artemisia" registers as a disappointment. Re-cently showcased at the 15th Miami Film Festival, it is due for domestic theatrical release soon, courtesy of Miramax Zoe.
The fetching Valentina Cervi plays Artemisia, the talented daughter of well-known 17th century Italian painter Orazio (Michel Serrault, in a superb performance). Thrown out of the convent after her nude self-portraits are discovered, Artemisia comes under the tutelage of her father, who recognizes his offspring's talent. He encourages her to pursue her dream, despite the fact that women at the time were not allowed to study at the Academy and were certainly not permitted to sketch a male subject in the nude.
Artemisia falls under the artistic and sexual spells of arrogant, well-known painter Agostino Tassi (Miki Manojlovic), who be-comes both her tutor and lover. Tassi is a sexual libertine, but he sees no conflict between his debauched lifestyle and his commission to paint religious paintings for the Church. This appals the dignified Orazio, and when he discovers his daughter's affair, he becomes distraught and accuses Tassi of rape. The resulting trial forms the climax of the film.
"Artemisia" is most successful when depicting its subject's passion for art and the process by which she learns her craft. The milieu is re-created with lush detail and historical verisimilitude, and the beautiful photography, imbued with golden tones, gives many shots the feel of a Renaissance painting.
Still, it could have provided more information; the screenplay often proves frustratingly sketchy about the artistic and social climate of the period. And the love affair, which becomes the main focus, is familiar and not particularly interesting stuff, though Cervi does provide a compelling portrait of a young woman being indoctrinated into her sexual flowering. It's understandable that the filmmakers would want to concentrate on the dramatic trial, but the melodramatic conclusion is far less engrossing than the character herself.
ARTEMISIA
Miramax Zoe
Credits: Director: Agnes Merlet; Screenplay: Agnes Merlet, Christine Mille, Patrick Amos; Producer: Patrice Haddad; Executive producers: Lilian Saly, Patricia Allard, Daniel Wuhrmann; Director of photography: Benoit Delhomme; Editor: Guy Lecorne; Music: Krishna Levy. Cast: Artemisia: Valentina Cervi; Orazio: Michel Serrault; Agostino: Miki Manojlovic; Cosimo: Luca Zingaretti; Costanza: Emmannuelle Devos. No MPAA rating. Running time -- 102 minutes. Color/stereo.
- 2/17/1998
- The Hollywood Reporter - Movie News
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