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Caravaggio

4 étoiles sur 5 2 commentaires client


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Détails sur le produit

  • Réalisateurs : Derek Jarman
  • ASIN: B00CF2WDE2
  • Classement des meilleures ventes d'Amazon: 6.445 en Vidéo (Voir les 100 premiers en Vidéo)
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Format: DVD Achat vérifié
Ce film, aux images inspirées des tableaux du Caravage d'une stupéfiante beauté, nous plonge dans la violence et l'érotisme à l'aube de l'époque Baroque; y voisinent le culte de la beauté et la quotidienneté du crime; l'artiste, le Caravage en l'occurrence, en étant à la fois acteur et témoin. Derek Jarman parvient à rendre vivant et crédible ce paradoxe qui veut que la beauté soit associée à la violence des hommes, aux exactions des grands de ce monde, à la fois mécènes et amateurs d'art, à l'amour brutal, mais profond, qui lie, sans distinction de sexe, les hommes et les femmes d'une société qui ignore la pitié, mais goûte aux beautés de l'art. La musique y est superbe, que ce fût un oratorio d'époque ou un flamenco, Jarman la mixe avec des bruits de la Rome contemporaine: klaxons de voitures, sifflement de trains à vapeur, tout comme il introduit des anachronismes: des hommes fument, un prélat tape à la machine à écrire, Le Caravage lui-même s'appuie sur une vieille voiture! Peut-être a t-il voulu ainsi relier à notre époque ce monde Baroque qui ressemble parfois au nôtre par sa soif de nouveauté, sa corruption et sa violence, on en veut pour preuve une scène de fête décadente qui rappelle étrangement, par la musique et par l'image, une scène fort proche filmée par Fellini dans sa "Dolce vita"!

Il est bon de noter que le DVD n'offre qu'une V.O. en anglais, sous-titrée...en néerlandais! Mystère du marketing! Le texte du film étant bien fourni en aphorismes et extraits de textes anciens de toute beauté, il est impératif de posséder une bonne connaissance de l'anglais....ou du néerlandais!
Remarque sur ce commentaire 6 sur 6 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Roro TOP 1000 COMMENTATEURS le 6 septembre 2009
Format: DVD Achat vérifié
Mettre en film, la vie d'un peintre, m'a toujours semblé un gouffre voué à l' échec, aussi beau soit-il. Peut-être
parce que le pictural et le "filmable" me semblent deux mondes à part, distincts...Les meilleurs m'ont laissé ce parfum d'insatisfaction ( Munch , Basquiat, le Van Gogh de Minnelli...).Caravaggio ne fait pas exception , mais ,
comme Munch , il est celui qui touche au plus près à l'âme picturale.
La vie du Caravage est retracée comme une mise en scène , traitée comme une pièce de théatre baroque , mélant
des flashs back , des réminiscences du peintre dans des images oniriques. De sa vie amoureuse tourmentée , à son
rapport complexe à son mécène , à la noblesse et au clergé qu'il arbhorre , mais dont il dépend , et son goût
pour la plèbe , les durs , les humbles , et sa fascination pour les éphèbes et les hommes du peuple, son homosexualité. Les portraits sont d'ailleurs très beaux , les visages respirent la grandeur , comme dans les toiles. Toiles que le cinéaste reconstituent avec bonheur. La création s'allume à nos yeux.
Les modéles posent pour le Caravage , et ce sont de vraies toiles ... Le travail se constitue sous nos yeux à travers les touches furieuses
appliquées , et surtout les regards fièvreux , intenses du maître (l'acteur principal est parfait , et celui qui incarne Caravage jeune n'est pas en reste!). Le rapport au travail pictural est une réussite , comme dans Munch.
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11 commentaires 16 sur 17 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: HASH(0x98f622f4) étoiles sur 5 38 commentaires
56 internautes sur 61 ont trouvé ce commentaire utile 
HASH(0x98e5f588) étoiles sur 5 Chapeaux, Gentlemen, a Feast for the Eye 29 mai 2008
Par laguna_greg - Publié sur Amazon.com
Format: DVD
I remember seeing this film in theaters when it first came out. I was so struck by the shadowy drama and sparkling wit of the imagery that I dragged EVERYONE I KNEW to see it. They still have my fingermarks on their arms.

Jarman's film is not a biography in the strict sense. Rather, he uses Caravaggio's paintings and a loose chronology of events as a point of departure to present his own musings on art, love, sexuality and its politics. The photography is painterly in the best sense of the word and evokes the period acutely. The cast, a director's dream by any standard, is splendid. Tilda Swindon absolutely glows on screen, Sean Bean is as feral as a tomcat, and Nigel Terry is believably world-weary and laconic, a prisoner of his vision, his debauchery, and the unfolding destiny the intersection of the two character traits dictates.

Jarman makes excellent use of anachronistic elements in the film to point out the relevance of those issues to the present day. My favorite scene shows a Vatican functionary, wearing nothing but his nightcap, sitting in a porcelain bathtub and typing on a manual typerwriter...in the 15th century! The witticisms are unmistakeable and very ably presented. Ironically, they make the whole film seem even more convincingly Baroque.

Video was the last time this film was available, and I'm very glad that someone had the nerve to reissue it on DVD. It is a very long time coming.
13 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x9929d1ec) étoiles sur 5 Biofic of an artist 29 juillet 2009
Par wiredweird - Publié sur Amazon.com
Format: DVD
That's biographical fiction - although Jarman started with a solid core of historical truth about this brilliant brawler, the film contains at least as much speculation and interpolation as actual fact.

Much of it works well. The film's stark contrasts of light and dark echo Caravaggio's own innovation in chiaroscuro. Numerous anachronisms appear as well, including cars, calculators, and modern clothing. Like the film's contrasts, these reiterate the anachronisms tha Caravaggio put into his paintings. Although jarring at first, these blends of era add to the movie's quirky charm.

Male homosexuality appears repeatedly in Jarman's career, so it's no surprise that Jarman makes the most of the allegations about Caravaggio's orientation. In fact, that offers a major motivation for some of the most dramatic events near the end of this movie - events that form around Tilda Swinton in her first movie role. This brings me to something I found odd in this movie (I mean odd even by this movie's standards): Nigel Terry plays his Caravaggio with an understatement that doesn't always match the magnitude of the events around him. Perhaps a poker face would have suited the dangerous circles in which Caravaggio travelled; perhaps Caravaggio was meant to express himself through his art.

The result shouldn't be taken as genuine history. Still, it creates an enjoyable drama in homage to this brilliant but eccentric and enigmatic painter.

-- wiredweird
9 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x99014a98) étoiles sur 5 Jarman's "Caravaggio"-5 stars is not sufficient! 29 mars 2008
Par KerrLines - Publié sur Amazon.com
Rarely would I ever say that 5 stars is not sufficient to express the magnitude of greatness that I see in a film, but Derek Jarman's CARAVAGGIO, the director's homage to the late Baroque painter, his life, his view of art, his sexuality and his struggle with life versus art, staggered my mind with the intense detail and love with which Jarman treats this interesting and tortured artist. The film's director and the film's subject is beest summed up in Caravaggio's quote while painting; "All art is against lived expression. How can you compare flesh and blood against pigment?!!....I have trapped pure spirit in matter!" This was the creed and the mission, almost Holy Grail of Caravaggio, as well as the late Jarman; to take life and mimic art, and to make art mimic life!

Writer/director Derek Jarman and Italian masterpiece artist Michaelangelo Merisi da Caravaggio (1571-1610) cannot and will not be separated in this film. The director and the artist are soulmates in life and art, 400 years apart in time, but indelibly linked in common purpose in life and purpose. Jarman, always the provacateur in film sees Caravaggio the same as himself; struggling against all convention, religion, and social norm to capture the human spirit on canvas and on film. Jarman honours Caravaggio's famous figures that illuminate out of the blackened background of the canvas rendering all of the film's scenes in that same spirit. Actors Nigel Terry, as Caravaggio; Tilda Swinton as Lena the prostitute; Sean Bean as the street trade object of desire Ranuccio Tomassoni; Michael Gough as the pederast Cardinal Del Monte; and Spencer Leigh as the deaf mute who is Caravaggio's lifelong apprentice Jerusalame
are all realistically portrayed as the true humans they were in forming Caravaggio's stable of models, friends, rivals, tutors, admirers and jealous lovers, all of which were the real life people who were the John the Baptists, Baachus' and Virgin Mary's of his 50 great masterpieces. Jarman frames each scene as Caravaggio would have seen it; he shows us how the artist saw the human life as it was and painted it into The Divine. This, of course, was a prevailing criticism of the time placed upon Caravaggio's work; he used live models, not pictures, to portray what he was to put to canvas. This upset many other artisrs, and infuriated the Church, though secretly Cardinals and Popes commissioned his work as "intimate chamber pieces known for their homoerotic ambience." (Interestingly, the religious commissioned these paintings, but hid them behind curtains in the Salon!)

Derek Jarman makes no apology for his open homosexuality, as Caravaggio made no apology for his work and fascination with the male form. Therefore, this film has a strong emotional connection between the filmmaker and the painter; the two understand one another deeply and Nigel Terry, as Caravaggio, is overwhelmingly the artist on screen. The subject of pederasty, older male taking under wing the younger male (which was quite common in the day- not just simply apprenticeship) is openly examined in CARAVAGGIO; Was the relationship strictly tutorial in the mind, but was it also educational of the body, also?

I have watched this film several times over before deciding to review it. There is just simply so many levels on which this film can be viewed. Jarman, undoubtedly intends it to be that way; CARAVAGGIO is about art and the artist, but it is also about human desire, passion in life, and passion in Art. One viewing of a Jarman film is NEVER sufficient. To see it as pornography (as some are wont to do) does no credit to the filmmaker or the 17th -century genius who gave us paintings such as "Death of the Virgin", "The Incredulity of Thomas", "The Cardsharps","The Calling of St. Matthew", "Amor Vincit Omnia","Boy With a Basket of Fruit", "Young Sick Baachus" as well as "The Entombment of Christ." Jarman cleverly and with awe and reverence "stages" all of these paintings with great precision within his film. Even the famous "The Calling of St. Matthew" is hilariously framed as a sniping news critic types his critique of Caravaggio in a bathtub with the famous "ray of light", that is in the painting,streaming through a window upon the man! Such is the imaginative Jarman, who never shies away from shocking images that to some seem senseless.

I admit, this film so intrigued me, upon my first viewing, that it cause me to do a more exhaustive search on Caravaggio. What that search yielded made me gain a far deeper appreciation for the artist, himself, who was sexually open with both men and women, who was put into exile, who needed a papal pardon, who painted life as he saw it, who was constantly arrested for brawling and who died under mysterious and controversial circumstances and whose life has been biographied countless times by "experts" who vehemently disagree about him!!! This makes Jarman's film all the more provoctive. Nothing that I see in this film contradicts anything that I have found in my discoveries. But Jarman is not just wanting us to see Caravaggio as an historical figure, as many movies tend to do; but is rather interested in painting, as it were, a canvas of the celebration and hardships of humanity on film.

In conclusion, Derek Jarman, I consider to be a genius filmmaker, but his films are quite unique and controversial. His films Edward II and Caravaggio [ NON-USA FORMAT, PAL, Reg.2 Import - Italy ] I have found to be more accessible than some of his more "experimental" films, such as The Last of England and "Blue", but hey, I'm still learning to appreciate a lot of things!!!
13 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x98e0bc9c) étoiles sur 5 Intriguing 12 août 2005
Par komadori - Publié sur Amazon.com
Of all the Derek Jarman films I've yet come across, this is my favorite. I say this with reservation: Jarman is hard to like, not merely because his movies are stocked with gratuitous nudity and sex, not merely because he goes into overkill with lighting imagery (never thought I could say that about anyone), and not merely because he never had the money to use a proper set.

Those are reasons enough, I'll give. Most of the time, Jarman just seems to be in a different world. I hated what he did to "Edward II", but I must admit that the stills from the movie are themselves exquisite pieces of art. There's lots of moments that could be set aside from "Caravaggio", and appreciated alone. That's I think Jarman's greatest talent. Every scene is brimming with symbolism, light imagery, poetry and painstaking posing.

Jarman is a neat combination of underwhelming production and overwhelming camp. Often times his direction sets apart puerile categories of "good" and "evil". That's where the lighting imagery usually comes in. Worse yet, his movies are often boring.

In spite of these faults, Jarman still does things that I find worthwhile. Sincerity, for one. Even if he never really makes sense, or if he thinks that he's reaching some new art form, it's obvious that Jarman honestly cares for his work. His scripts are laden with outrageously vulgar love poetry, and his characters deliver them in dreamlike dazes, unperturbed and not really trying to shock.

People, similar, can be crass and sentimental in the same breath.

Typical Jarman, "Caravaggio" is bold, crass, sexual, and tragic. The surprise ending was a surprise strength in terms of complexing the plot and themes.

"Caravaggio" in particular was watchable for how Jarman would reinvent the original scene that a painting came from. The differences between the inspiration and the end result suggested all sorts of things about the artist: playfulness, cynicism, anguish or elation. This film has more humour than most of his other ones, with a main character - performed by game Nigel Terry - who blessedly can make fun of himself. That's a relief, given how dark the story turns out.

Sean Bean performed wonderfully, as did Tilda Swinton (a Jarman regular). Swinton carried her character with enigmatic innocence, while Bean gave the film its base of energy.

This movie is not for everyone, not even all art students. While the art direction is interesting, the explanations for certain paintings certainly worth considering also, Jarman's signature boldness offends many people. Violence, sexuality, and language give this film a high age rating.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x99bf3348) étoiles sur 5 This Is Not Your Father's Caravaggio... 3 juin 2012
Par Chip Kaufmann - Publié sur Amazon.com
Format: DVD Achat vérifié
...nor anyone else's. This is Derek Jarman's CARAVAGGIO and therein lies the tale. Those expecting a standard biography of the renowned Italian painter need to look elsewhere for this is anything but a standard biography. Those familiar with Derek Jarman's other movies will not be surprised by what they find here but others certainly will (as various reviews attest). The painter Caravaggio becomes a metamphor for artists in general and what they have to deal with in order to produce their art. It specifically references the London art scene of the 1980s which Jarman was actively involved with. The deliberate anachronisms of cigarettes, calculators, and typewriters are there to reinforce this.

The main reason the film works for me is Jarman's use of light, shadow, and color along with the recreation of the stagings of the subjects of Caravaggio's paintings (He began his career as a painter before becoming a set designer -Ken Russell's THE DEVILS- and film director). The remarkable visuals, the quality performances of Nigel Terry, Sean Bean, Tilda Swinton (in her film debut) and the intruiging screenplay by the director kept me continually engrossed in the proceedings. I highly recommend that you run the film with subtitles so that you don't miss a word of Nigel Terry / Carvaggio's voiceovers. They enrich and help you to understand the nature of the subject and of the film itself.

In addition to the reasons listed above, I applaud CARAVAGGIO for its strong supporting cast (Michael Gough, Robbie Coltrane, Nigel Davenport), fluid camerawork, and creative use of a limited budget (the film was financed mostly by Britain's Channel Four) which works to Jarman's advantage as it gives him tighter creative control over what he wants to show and how he can show it. This is closer to a filmed play (that borrows heavily from Bertolt Brecht) than an actual movie although it is very cinematic. Jarman's use of homoerotic imagery is less pronounced here than in many of his other works but that will still bother some people. Fortunately a lot less than it did 25 years ago.

For me CARAVAGGIO was not a complete success but I still rate it 5 stars for accomplishing everything it did on such limited resources. Because it deliberately refuses to be your average film biography, it has managed to stay with me a lot longer than many more accomplished films of that nature. Whether I completely like it or don't like it should have nothing to do with its overall rating. In my opinion it's what you do with what you've got that counts for everything and Derek Jarman's films in general and CARAVAGGIO in particular have managed to achieve quite a lot.
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