Displaying items by tag: Louis Garrel

THE THREE MUSKETEERS: PART 1, D’ARTAGNAN/ LES TROIS MOUSQUETTIERES, D’ARTAGNAN 

France, 2023, 121 minutes, Colour.

François Civil, Vincent Cassel, Romain Duris, Pio Marmai, Eva Green, Louis Garell, Vicki Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Eric Ruf.

Directed by Martin Bourboulon.

The novels by Dumas, pere et fils, excited 19^th-century readers – and were popular around the world. Audiences revelled in the stories of the Musketeers, of the Man in the Iron Mask, the Count of Monte Cristo.

And there have been many film versions, swashbuckling in the 1930s with the Ritz Brothers, the spectacular MGM treatment in 1948, Richard Lester’s several films, action with some comic touches, American productions in the 90s, the 2000s. And, now, a spectacular French version, no expenses spared. And, it was released in two parts.

The first part of the film focuses on D’Artagnan, his origins in Gascony, confidence, riding to Paris, brashness, duels and encountering the Musketeers themselves. But, he is eventually embraced by them, finally becoming a musketeer himself. He is played very genially by François Civil. And, there are French film veterans as the of the musketeers, Vincent Cassel as Athos, Romain Duris as Aramis, Pio Marmai, less prominent in the films but jovial, Porthos.

At the beginning of each of the film is there is quite some explanation of the political background, the 1627 setting, clashes between Catholics and Protestants, the king wanting peace. There is also the complication of the relationship of the Queen with the Duke of Buckingham, her giving him her necklace as a memento, the king demanding to see it, the expedition to England by Milady and the confrontation with D’Artagnan.

There is also the story of the lady in waiting, Constance, her devotion to the Queen, the recovery of the diamonds in time, and data falling in love with her.

The King is played by Louis Garell in a quite uncharacteristic rule. Vicki Krieps is the Queen.

It is one is introduced in the first film, played with suave intensity by Eva Green. In the first film, she falls from a cliff in England when confronted by D’Artagnan, She features in the beginning of the second part, links with Cardinal Richelieu, getting a written pardon from him, but then being captured, D’Artagnan confronting her, her stealing documents to indicate who is the traitor in the war. Then she disappears but returns, confronting Athos and the memories of her past, further intrigue, to the Duke of Buckingham, unmasked, escaping and pursued until the final confrontation in flames with D’Artagnan.

The second part highlights the Civil War, the siege of La Rochelle, the various factions, the staging of the battles, hand-to-hand fighting, the bombardment of the British ships.

There is pathos at the end of the film, Constance allowing Milady to escape but then a hood over her head, taken to be hanged, D’Artagnan intervening but unable to save her.

There is the possibility for the story to be continued as Athos, returning home, finds one of Milady’s earing is in her son’s bed…

1. The long popularity of the Dumas’ novels, the many film and television versions? 21^st-century version? A French interpretation? The contrast with so many of the Hollywood versions?
2. 1627, initial explanations, Louis XIII, religious wars, power, Cardinal Richelieu, Protestants, factions? Links with Britain?
3. The visuals of the film, costumes and decor, buildings, interiors and exteriors, vastness? Yet the ordinary parts of the city, dirty, crowded? The sumptuous court sequences, the Cathedral wedding? Atmosphere of the period? The musical score?
4. Audience knowledge of the Three Musketeers, the characters, their stories? Athos and his Protestant background, older? Aramis and his ecclesiastical connections? Porthos as jovial? The younger D’Artagnan, his origins, proving himself, becoming a musketeer? All for one and one for all?
5. The title of part one, D’Artagnan? Age, appearance, his father’s background, his ambitions, looks, riding the horse? Arrival in Paris, over-eager, challenging the three men, the duels? Moving, the fights, the Three Musketeers? The episode with the coach, the Countess, the message, the killings, the fights? The presence of Milady? Beginning of further intrigues?
6. D’Artagnan, the encounter with Constance, the attraction, the offer of lodging, her work at home, her presence in the court, with the Queen? D’Artagnan’s attraction, falling in love? His becoming a go-between? Constance, her personality, the court, fending off D’Artagnan? The issue of the necklace?
7. The King, status, personality, relationship with his brother, relationship with the Queen, her affair with the Duke of Buckingham, his suspicions, the advice of Cardinal Richelieu, his religious stances, the urge to war against the Protestants? His personal manner and behaviour?
8. Cardinal Richelieu here and his ambitions, his allies, bridges, aristocracy? Plot against the Queen? Milady and her writing notes, the death of the Countess, her taking her place, the meeting with D’Artagnan, his overhearing, her attack on him, his escape?
9. The jovial musketeers, D’Artagnan as a cadet, their admiring him? The situation with Athos, the dead woman, his being arrested, tried, Protestant, condemned to death?
10. The Queen, deceived by the note, the arrival of the Duke of Buckingham, the relationship, the memento of the necklace? The attack, the fights, the Duke and the Queen, his departure?
11. The King, suspicions about the necklace, wanting to see it? going to England, disguised the ball, with the Duke, the seduction, taking the necklace? D’Artagnan commission to go to England, at the ball, with the Duke, the pursuit of Milady, the chase along the cliffs of Dover? Her falling into the English Channel?
12. The tension, D’Artagnan returning, the Queen substituting a necklace, the demand of the King, Constance receiving D’Artagnan, the kiss, the necklace, the reaction of the king? Of Cardinal Richelieu?
13. The King’s brother, planning, the arranged marriage, the ceremony and the Cathedral? The Protestants, the release of Athos? Their being disguised as monks, the choir? The ceremony? The shot, Athos and the warning, the King’s life saved? The fighting, the arrests? The king deciding to go to war against the Protestants?
14. Athos and his being pardoned, D’Artagnan officially becoming a musketeer?
15. The sinister characters, overhearing, the violence, the attack on Constance?
16. The suspense and the film to be continued?

THE THREE MUSKETEERS: PART 2, MILADY LES TROIS MOUSQUETTIERES, MILADY 

France, 2023, 121 minutes, Colour.

François Civil, Vincent Cassel, Romain Duris, Pio Marmai, Eva Green, Louis Garell, Vicki Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Eric Ruf.

Directed by Martin Bourboulon.

The novels by Dumas, pere et fils, excited 19^th-century readers – and were popular around the world. Audiences revelled in the stories of the Musketeers, of the Man in the Iron Mask, the Count of Monte Cristo.

And there have been many film versions, swashbuckling in the 1930s with the Ritz Brothers, the spectacular MGM treatment in 1948, Richard Lester’s several films, action with some comic touches, American productions in the 90s, the 2000s. And, now, a spectacular French version, no expenses spared. And, it was released in two parts.

The first part of the film focuses on D’Artagnan, his origins in Gascony, confidence, riding to Paris, brashness, duels and encountering the Musketeers themselves. But, he is eventually embraced by them, finally becoming a musketeer himself. He is played very genially by François Civil. And, there are French film veterans as the of the musketeers, Vincent Cassel as Athos, Romain Duris as Aramis, Pio Marmai, less prominent in the films but jovial, Porthos.

At the beginning of each of the film is there is quite some explanation of the political background, the 1627 setting, clashes between Catholics and Protestants, the king wanting peace. There is also the complication of the relationship of the Queen with the Duke of Buckingham, her giving him her necklace as a memento, the king demanding to see it, the expedition to England by Milady and the confrontation with D’Artagnan.

There is also the story of the lady in waiting, Constance, her devotion to the Queen, the recovery of the diamonds in time, and data falling in love with her.

The King is played by Louis Garell in a quite uncharacteristic rule. Vicki Kireps is the Queen.

It is one is introduced in the first film, played with suave intensity by Eva Green. In the first film, she falls from a cliff in England when confronted by D’Artagnan, She features in the beginning of the second part, links with Cardinal Richelieu, getting a written pardon from him, but then being captured, D’Artagnan confronting her, her stealing documents to indicate who is the traitor in the war. Then she disappears but returns, confronting Athos and the memories of her past, further intrigue, to the Duke of Buckingham, unmasked, escaping and pursued until the final confrontation in flames with D’Artagnan.

The second part highlights the Civil War, the siege of La Rochelle, the various factions, the staging of the battles, hand-to-hand fighting, the bombardment of the British ships.

There is pathos at the end of the film, Constance allowing Milady to escape but then a hood over her head, taken to be hanged, D’Artagnan intervening but unable to save her.

There is the possibility for the story to be continued as Athos, returning home, finds one of Milady’s earing is in her son’s bed…

1. The long popularity of the Dumas’ novels, the many film and television versions? 21^st-century version? A French interpretation? The contrast with so many of the Hollywood versions?
2. 1627, initial explanations, Louis XIII, religious wars, power, Cardinal Richelieu, Protestants, factions? Links with Britain?
3. The visuals of the film, costumes and decor, buildings, interiors and exteriors, vastness? Yet the ordinary parts of the city, dirty, crowded? The sumptuous court sequences, the Cathedral wedding? Atmosphere of the period? The musical score?
4. Audience knowledge of the Three Musketeers, the characters, their stories? Athos and his Protestant background, older? Aramis and his ecclesiastical connections? Porthos as jovial? The younger D’Artagnan, his origins, proving himself, becoming a musketeer? All for one and one for all?
5. Continuation of the story? The focus on Milady? The continued story of D’Artagnan? Of the Musketeers? Of the King and the Queen? Of the religious wars?
6. Athos and his story of his wife, the betrayal, branding, her being hanged, his visit to his son, promise to return after the war? Audience awareness of Milady, the issue of the Queen’s diamonds, the confrontation with D’Artagnan, her relationship with Richelieu? Are being captured and imprisoned? The confrontation with D’Artagnan, his thinking she was Constance, the escape, the pursuit, her documents and the identity of the mastermind?
7. Contact with Richelieu, going to England, the confrontation with the Duke of Buckingham, Constance recognising her, her arrest? Constance coming to see her, unwilling to give her a knife, Constance in the change of clothes, her escape?
8. Athos finding out the truth, the confrontation with her, his love, her drawing the knife, the Musketeers arriving in time, Athos letting her go, D’Artagnan pursuing her, in the burning building, the final fight, her death?
9. The civil war situation, Protestants and Catholics, the king wanting peace, his brother leading the battle, thanking his brother, in action? Betrayal?
10. The battle sequences, the staging, La Rochelle, the battlements, the cannon, the British ships and their destruction? The hand-to-hand fighting?
11. The role of the Musketeers, the role of de Treville, involvement, the fighting, undercover, the betrayals?
12. The background story of Aramis, his sister, her pregnancy, going to confront the father, temptation for a duel, the cabin, his death, the presence of Porthos, going back to his sister, her place in the conference, tending the wounded, his wounds, falling in love with her? The happy ending? Aramis and his reaction, celebrating the wedding?
13. The various factions, Chalais and his betrayal, with milady, with Constance, the King’s brother killing him?
14. D’Artagnan, visiting the Queen, searching for Constance, the Queen and her relationship with the King, memories of Buckingham, sending Constance to him?
15. The trial, the entry of the Musketeers, the revelation of the truth, the pardon, the condemnation of his brother?
16. The story continuing – and Aramis finding Milady’s earing in his son’s room…?

OMBRA DI CARAVAGGIO, L’/CARAVAGGIO’S SHADOW

Italy, 2022, 120 minutes, Colour.

Riccardo Scarmachio, Louis Garrel, Isabelle Huppert, Micela Ramazotti, Tedua, , Michele Placido, Vinicio Marchoni, Lolita Chammah,Nadia, Brenno Placido, Gianluca Gobbi, Gianfranco Gallo, Michelangelo Placido, Moni Ovadio, Gianluca Gobbi, Gianfranco Gallo.

Directed by Michele Placido.

Every person casts their own shadow. Celebrated 16^th-17^th century Italian painter, Michelangelo Merisi, best known as Caravaggio, certainly cast a long shadow, in his low life in the slums of Rome and beyond, in the world of art in his own time, in his artistic heritage. However, all that it is very evident in this portrait of Caravaggio. But the “Ombra”, “Shadow” of the title refers to the agent of the Vatican, an Inquisitor, who is commissioned to investigate Caravaggio and provide a report about his life, his being charged with murder, to the Pope.

This portrait is in pieces, something like jigsaw pieces, visualised for the audience, highly dramatic, not in chronological order, moving backwards and forwards in time, many flashbacks, providing the audience with images and insights for them to finally put together all these pieces for some kind of understanding and appreciation of Caravaggio, his character, his behaviour, his art, his and morality and yet a moral sense and religiosity, a genius and an opportunist.

The film has been cowritten and directed by veteran actor, Michele Placido, who also appears as a patron of the artist, Cardinal Del Monte. Caravaggio himself is played by internationally known and popular Italian actor, Riccardo Scarmacio, often a dark and brooding presence, complex, content in the underbelly of Rome, happy with the Regal patronage, especially from the Marquesa Colona, played by Isabelle Huppert  always speaking dialogue in French, contacts with cardinals, unreliable, moody, sexually profligate, but with an innate sense of the Jesus of the Gospels, appreciation of the gospel narratives and a burning desire to re-create them in his art.

The Shadow of the title is played by French actor, Louis Garrel, always convincing in serious roles, less so in light or comic roles, but perfect here in the relentless investigator, ambitious, single-minded, even rigid as regards doctrine and ecclesiastical order, who pursues his investigation, personal interrogations, resorting to water torture, interviewing the prostitutes and vagrants with some disdain, unafraid in challenging the nobility, finally a confrontation with the artist himself. This is a frightening portrait of an ecclesiastical Inquisitor, admiring the works of art, but unhesitatingly condemning the artist for his life.

Set design and costumes and decor are marvellously portrayed to re-create the period, immersing the audience, especially in the low life of Rome. And, so many of Caravaggio’s paintings are brought to life, the finished works as well as the process of choosing the models, set-ups and posing, the artist and his work of painting. And the lighting of the film evokes the chiaroscuro light and darkness of the works at the beginning of the baroque period.

Riccardo Scarmacio plays Caravaggio with all his faults, sins, but with a deep innate sense of admiration for the Gospel stories, evoking audience sympathy for him, no matter what. And, he notes that in his choices of prostitutes as models for portraying Mary, the mother of Jesus, and himself, after his throat is slashed by the vengeful brothers of the man Caravaggio fought in a duel and killed, the right choice for the image of Goliath. And some of the prostitutes themselves, exploited and persecuted, note that being chosen to portray Mary was a highlight of their lives.

Evocative, interesting, taking us back into a complex period of church history, with some interesting sequences featuring Giordano Bruno, burnt at the stake as a heretic, the young artist, Artemisia, and St Philip Neri of the Oratory, seen sympathetically in the midst of the hardships and squalor in which he ministered.

Evocative also in raising all kinds of questions about artists in their times, their moral lives and choices, the relationship of these choices to the quality of their art and achievement.

1. An interesting and provocative visit to Italy and the baroque period? The world of Caravaggio?
2. Audience knowledge of the painter, of the period, of the baroque, painting styles, chiaroscuro, the paint, the canvases, the choice of models, the posing…?
3. Costumes, decor, the period, Rome, the papal court, the church, the underbelly of the slums? Naples and other Italian cities? Atmosphere? The musical score?
4. The structure of the screenplay, moving around in time, end of the 16^th, beginning of the 17^th century? Dates and places? A Mosaic of scenes and sequences, the connections made, the audience making connections, references, and ultimately putting everything together?
5. Riccardo’s Camacho as Caravaggio, a brooding presence, artistic genius, his background with the Contessa, religious background and religious sense, connection with the gospel stories? Poverty, at home in the low life of Rome, the beggars, the poor, the prostitutes, the sexual connections?
6. The central situation for the film, point of reference, the murder? The audience eventually seeing the confrontation, the fight, the death – in the background of Caravaggio’s relationship with the brothers, in the dealings in the underbelly of Rome? Their vengeance on Caravaggio, stabbing his cheek and mouth? (And his deciding that his image was that for Goliath?)
7. The role of the Pope, Rome ecclesiastical and secular, the condemnation of Caravaggio, the possibility for apartment? The Pope, meetings with the Cardinals, Cardinal Del Monte and his support of Caravaggio and his art, the Pope’s nephew and his dealings?
8. The title of the film, the Inquisitor as the Shadow? Louis Goel and his presence, performance? Sinister? Dressed in black? Devotion to the Pope, his understanding of the church, doctrine, rigidity and traditionalism? His mission, the range of his encounters, interrogations, using water torture, violence? His discovery of Caravaggio’s art, the models, questioning, admiration of the art, yet condemning Caravaggio? Eventually meeting him, the setup, Caravaggio travelling, the sea, the attack, death? And the Inquisitor reporting finally on the mission accomplished?
9. The Contessa, speaking French, her husband, her care for the young Caravaggio, the meetings with him, the discussions, her sensuality, sexuality, reputation? With the Inquisitor? With her son, his responsibilities, dealings, Caravaggio?
10. The range of prostitutes, on the streets of Rome, the harshness, the men, sexual violence, exploitation, the young women, some standing their ground, children, pregnancy? Squalor?
11. Caravaggio and the women, his relationships, over the years, their response to him, posing for the portraits, their being condemned for portraying the Virgin Mary? But this being an affirmation of their lives? And the status of the paintings and where they finished?
12. A violent era, a religious era, an era of art and achievement? Especially in Italy, Rome? The range of Caravaggio’s paintings, the film highlighting them, the completed works, works in progress, models posing for them?