Another film found in a throwaway collection for me, so why add in this review? Because if you're a Merchant Ivory sumptuous depictions fan, to warn, I felt this one was a letdown:
In the art of film, well, nice sun washed colours throughout - except at beginning introduced at the tail end of the second world war just before Picasso meets Gilot, which is the inspiration for the film - and plus a couple of nice crane shots, one in this context, at the beginning. But even here, having begun showing Picasso as more or less darling of the occupying German invaders, no follow up so as to make relevant why this might have been so of him: it merely serves to introduce his fourth major lover, on whom regular screenwriter collaborator, R.P. Jhabvala, has adapted Ariana Huffington's source novel - and that (presumably) on her - lover, F. Gilot's - memoirs: and that is where the major disappointment arises in that for such female sources and a foremost 'feminist' (Gilot) do her own thing, this storyline didn't give much - if any - insight into the female psyche as to how she (they*) truly felt inwardly about this granted, prodigiously talented ergo charming artist, yet, presumably, egotistical selfish brat, that Picasso must have been, yet held such mesmerising, demoniacal sway over her (and them all!*)
Which then brings to A. Hopkins' 'portrait of an artist': unfortunately, he gives yet another of his 'I am Anthony Hopkins' - now Sir - so I can just act and deliver my lines in precisely the same way I as I do in virtually any film I have ever made' style . other than the balding pate and the brown contact lenses, it's him - not in in the least convincing as Picasso, the genius and irresistible lover. In a word - or two - poor - and lazy.
* his four other major lovers are cast to appear in the film, but to no understandable reason as to why he exerted such sway over them. Perhaps the best female character in this quite clearly supposedly 'female perspective' film, is the de facto (Grand) Mother-in-law, (Gliot's Grandmother) played by the ever superb and reliable Joan Plowright, but who sadly was just not given enough time in the screenplay / film.
Overall, disappointing effort.
In the art of film, well, nice sun washed colours throughout - except at beginning introduced at the tail end of the second world war just before Picasso meets Gilot, which is the inspiration for the film - and plus a couple of nice crane shots, one in this context, at the beginning. But even here, having begun showing Picasso as more or less darling of the occupying German invaders, no follow up so as to make relevant why this might have been so of him: it merely serves to introduce his fourth major lover, on whom regular screenwriter collaborator, R.P. Jhabvala, has adapted Ariana Huffington's source novel - and that (presumably) on her - lover, F. Gilot's - memoirs: and that is where the major disappointment arises in that for such female sources and a foremost 'feminist' (Gilot) do her own thing, this storyline didn't give much - if any - insight into the female psyche as to how she (they*) truly felt inwardly about this granted, prodigiously talented ergo charming artist, yet, presumably, egotistical selfish brat, that Picasso must have been, yet held such mesmerising, demoniacal sway over her (and them all!*)
Which then brings to A. Hopkins' 'portrait of an artist': unfortunately, he gives yet another of his 'I am Anthony Hopkins' - now Sir - so I can just act and deliver my lines in precisely the same way I as I do in virtually any film I have ever made' style . other than the balding pate and the brown contact lenses, it's him - not in in the least convincing as Picasso, the genius and irresistible lover. In a word - or two - poor - and lazy.
* his four other major lovers are cast to appear in the film, but to no understandable reason as to why he exerted such sway over them. Perhaps the best female character in this quite clearly supposedly 'female perspective' film, is the de facto (Grand) Mother-in-law, (Gliot's Grandmother) played by the ever superb and reliable Joan Plowright, but who sadly was just not given enough time in the screenplay / film.
Overall, disappointing effort.