Displaying items by tag: Claudia Cardinale

THE ARTIST AND THE MODEL/ L’ARTISTA Y LA MODELA

Spain, 2012, 105 minutes, Black-and-white

Jean Rochefort, Aida Folsch, Claudia Cardinale, Chus Lampreave, Goetz Otto, Martin Gamet.

Directed by Fernando Trueba.

Fernando Trueba has been making films for many decades, in Spain, in France. He intended to make a film about a sculptor in the 1990s, following his brother, but his brother died.

Now, 30 years later, filming in evocative black and white, he tells the story of a sculptor, played by veteran French actor, Jean Rochefort, an icon in French cinema, filming in his early 80s.

The setting is occupied France, a town near the Spanish border. A refuge from Spain, a young girl, chances upon the household, is well received by the artist’s wife and former model, played by veteran Claudia Cardinale, welcomes her, suggesting she might become a model, the young girl initially very hesitant.

However, the film spends a lot of time with the young girl agreeing to pose, wary at first about posing nude, but then many sequences of the artists sketching her, the various poses, her boredom, her responding to the artist requests, effective sketches, then the gradual building up of a plaster statue of her, final success.

There is the background of the war in the town, the German occupies, especially a professor of arts from a German university, visiting the artist, collecting information for a book about him. A complication is that he young resistance man, wounded, has taken refuge in the house, is concealed by the artist and his wife.

The model eventually helps the young man to safety in Spain and then decides that she should move on.

A lot of discussion about art, about inspiration, about having the breakthrough idea, revelations about the psychology of the artist and his creativity, and then the achievement by the artist, his praise of the young model, his seeing his wife off to visit relatives – and then his shooting himself.

A Spanish perspective, a French story, a World War II occupation story.

1. The films of the director, over many decades, Spain, France, US? The screenplay, long gestation, Jean-Claude carrier collaborating, the director’s brother being a sculptor but his early death?
2. The decision for black-and-white photography, graphic, black-and-white contrasts, the town, the house, the surroundings, the countryside? The modelling sessions, the creation of the sculptures? The musical score?
3. The period, occupied France, the Spanish border, the German occupation? The Resistance, live under occupation, normal life? The Germans? The irony of the art professor being an officer, his presence, the visit to the artist, his admiration, collecting material for a book, meeting Maria and Peter, his courtesy? And being transferred to the Russian front?
4. The title, the focus on Marc, the artist? The screen presence of Jean Rochefort, his long career, in his early 80s, bringing dignity and credibility to the role? Appearance, age, gaunt, moustache and rather sad face? His wandering, the past with his art, the war bringing a pause? His relationship with his wife, love, long years together, her being a past model?
5. Maria, her arrival, her story, Spanish, the aftermath of the Civil War, neutral Spain under Franco? Her ability to move across the border? Her later taking Peter to Spain?
6. Her age, personality, no fixed destination, her past, hungry, being seen by the artist wife, her welcome, bringing her home, encouraging her, the possibility of being a model? Maria not understanding what was to be a model, the shock of the removal of clothes? Her agreement? Becoming more and more at home, the meals, posing?
7. The visuals of the modelling sessions, the variety of poses, the effect on Maria, fidgety, the demands of Marc, the discussion about having the key idea, his explaining to her the picture by Rembrandt, and her growing understanding and appreciation? His methods, his material, moulding the sculpture, the service of the sculpture, his sketches?
8. The effect on Maria, on Marc, on his wife, the completion of the sculpture, her being ready to go?
9. The episode with Peter, the resistance, her giving him shelter, Marc agreeing, his recovery from his wound, the tension with the visit of the German professor, Marc giving him some money, Maria taking him to safety?
10. Marc, his friend a meal, his artwork, encouragement?
11. His wife, going to the sick relative, helping Maria on her way across the border? The farewell?
12. Marc, the completion of his work

NONNAS ON THE RUN

Italy, 2018, 94 minutes, Colour.

Claudia Cardinale, Nunzia Schiano, Jordi Molla, Daphne Scoccia, Ilenia Pastorelli, Eduardo Pesce.

Directed by Laszlo Barbo.

Nonna is an affectionate Italian word. It means grandmother. And this English title is an enjoyable play on the British comedy title, Nuns on the Run. However, as is seen on a final gravestone, the Italian title indicates nothing serious!

This film is a romp, often quite over-the-top in its exuberance. Many commentators have made reference to Thelma and Louise, but this time the two ladies on the loose so to speak, are in their 70s, living in aged care, feeling the confines, wanting to escape and contriving to set up two of the carers, encouraging their relationship, distracted, so that they can get out of the building.

Claudia Cardinale plays the Duchess, a gambler, and alienate it son who is an orchestra conductor, about to return to Italy in Venice. Nunzia Schiano is a widow who was a top cook at a restaurant. Her daughter, married again, has control over her money. Her granddaughter is rather wild, alienate it from her mother, complicit with her grandmother in the escape and later following her.

There are all kinds of comic adventures, especially in the initial encounter with two gay transvestites, just after they are suddenly robbed of all their money. (And there are schemes of them to get their way, the transvestites being seductive to bank managers and others and photographing them when compromised.)

There are adventures in Rome. They travel to Pisa, even having a ride there in supermarket trolleys. They are on the road, have great success in getting money in gambling, later stolen, and much of it lost at another casino. They encounter a farmer who hosts them, drives them, despite a breakdown, to Venice.

Meantime, the two nurses are in trouble, fired, but continue their relationship.

The young daughter encounters the transvestites who get into trouble with the police, accused of kidnapping the grandmothers. One of them is interned. The other, played by veteran Spanish actor and author, Jordi Molla, has a long journey, often clashing, with the daughter, eventually arriving in Venice.

There are various moods along the way, the Duchess exuberant, the widow having second thoughts and longing for her husband, the pursuing couple trying to avoid the police, eventually arriving for the recital of the widow then collapsing. (But not before she is given a severe talking to her granddaughter getting to reconcile with her mother.)

Older audiences can identify with the two grandmothers and their run. And it is challenged to younger audiences, middle-aged and young, to give more thought and attention to the elderly.