Reviews (32)

Outstanding view of the greatest castrato
Set in 18th Century Europe, this is the story of castrato Carlo Broschi (known as "Farinelli"), arguably the greatest (at least the most popular) singer of all time. The film delves into his life in a deeply personal, if fictionalized, way. Reminiscent of "Amadeus" in its mixture of truth and fiction, we follow the lives of Farinelli and his brother, the composer Ricardo Broschi, from street trumpet duels through stardom, and Farinelli's life as a court figure and personal singer to King Phillip V of Spain.

Farinelli struggles with fractured memories and painful questions as he learns to use his talent apart from his brother's composing. No, no, that's too flat a description of the story -- after watching this film MANY times, I must say that each time I see it, I find new sub-plots and new techniques applied in direction, cinematography and music.

The film features lush cinematography and a unique and rich soundtrack (featuring the computer-b! ! lended voices of Derek Lee Ragin, Counter-tenor, and Ewa Mallas-Godlewska, soprano, to simulate the vocal range of Farinelli).

I could not give a higher recommendation to this film, which I *believe* won a Golden Globe for best foreign language film, and was nominated for an Oscar in the same category.

CORRECTIONS: Stefano Dionisi is the star, not the Director or Producer (the listing should read, "by Gerard Corbiau"). Also, the name of the film is "Farinelli, Il Castrato" END

A Second Review Of A Great Film
Director Gerard Corbiau's Farinelli won Best Picture of 1995. The foreign film, mixed Italian and French, retells the story of the famous and greatest castrato singer Carlo Broschi. The film is exotic, intensely emotional and loaded with beautiful music of the Baroque Era (1600-1750). With all the good things about this movie, comes some things that might be rather disturbing or inappropriate for a younger audience. This is assuredly an adult film. There are two explicit sex scenes at the beginning and end of the film. This is a movie for an adult who is interested in the period, in the life of the castrati and in opera at this time. The opening introduces Carlo Broschi as a little boy singing in the church choir. Another young lad has been castrated to preserve his voice and is so mortified he leaps to his death. Eventually Carlo's brother Riccardo is obligated to do the same to his brother. We don't learn until later in the film that it was Riccardo and not Carlos' brother that conducted the castration. Here, Farinelli is usually quite ill and is forced to take opium as medicine. Farinelli does not seem to think highly of his brother's operas, which are written exclusively for his voice. Instead, he believes the greatest composer of this time is George Frederic Handel, played convincingly by Jerome Krabbe. In a dinner party, in which the Nobles insult Handel, Farinelli is outraged and declares that Handel will long be remembered and not the Nobles and their operas. This ends up being true since Handel is considered one of the greatest composers of this period togeter with Johann Sebastian Bach.

The movie has some inaccuracies and are not historically true. Naturally, this being a costume drama, there are some elements which were entirely fictional created for the sake of sensationalism. Although it is true Riccardo Broschi did compose operas for his brother Farinelli, there is no real evidence they "shared" the women they bedded. In the movie, a Countess is so enamored with Farinelli that she jumps into bed with him only to discover he's castrated. Thus, Riccardo plants the seed and Farinelli only lures the women into bed and seduces them. This is fabricated material to "sex up" the movie. In real life, Farinelli I'm inclined to believe was chaste. He sung many times for religious services and was a devout Catholic. He may not have been at all bitter for his castration since he lived like a king all his life, surrounded in luxury. He was well acquainted with European royalty, all of Europe loved him and he died after years of singing in the chambers of King Phillip of Spain. The rivalry between the Nobles Theatre Opera and Handel's opera company is true. In fact, it remains the only true thing about this movie. The English in London disliked the German foreigner Handel and his prominence in London. He was so beloved that even King George and Queen Anne protected him. The Nobles schemed endlessly to get rid of Handel. The portrayal of Handel as a musical genius, a man of stubborn, perfectionist character is all true. I think the most moving scenes are those with Handel, such as the scene in which Farinelli is overhearing him play the organ in the church and is moved by the music and the scene of Farinelli singing "Lascio Chio Pianga" from Rinaldo which ultimately moves Handel to tears. All the scenes of opera and Farinelli singing in his majestic costumes in this movie are stunningly beautiful. Finally, this movie's soundtrack is incredible. It contains the combined voices of tenor Derek Rogin and soprano Ewa Mallas as the singing voice of Farinelli. The arias sung here are taken from Riccardo Broschi's operas Idaspe and Artaserse and from Handel's Julius Caesar and Rinaldo. A superb film and a must see for fans of Baroque opera.

The Exotic History Of Opera: Farinelli The Great
This DVD comes equipped with English translation from the Italian that this movie was made in. There are also subtitles in French and Spanish, as well as scene selections. French director Gerard Corbiau decided to make a lush film about the life of Farinelli, the greatest castrato singer in all history, portrayed by Italian actor Stefano Dionisi. On DVD, this film looks exquisite. It's a film of adult material (nudity and sex) and for specialized interests. Opera buffs will want to take a glimpse back to the early days of Baroque Opera when the castrati were the music idols of their day, enjoying rockstar status and great wealth. Everything about this film is really engaging to look at. The authentic historic costumes and the precise European locations provide the film with an immediacy and virtual historic escape. We are there in 17th century Italy following this dramatically heightened take on the career of Farinelli. Stefano Dionisi does a great performance, though his effiminate looks, mischief and diva temperament reveals something of a homosexual but this notion is taken into question when we see him in the love scenes with the many beautiful women that are his groupies and loyal admirers of his voice.

This drama may not be entirely true. The story of how the two brothers who are at conflict (one brother reaps the benefits the other is left frustrated and obscure) may be a deliberate attempt to resemble Milos Forman's Amadeus.Farinelli came from a family of musical ambitions and when he was about to hit puberty he wanted to be castrated for the sole purpose of making millions of money and acquiring world fame as a singer. Castrating male youth so as to keep their high-pitched soprano range was an Italian custom, which died out in the 18th century where women began to enjoy more prominet roles in opera, such as the operas of Mozart. Farinelli was the greatest castrato singer of his day. He was incredibly rich and enjoyed the company of royalty. After his many theatrical performances in operas by Handel and other composers, he gave up the stage to sing in the private chambers of Spanish King Phillip V. He lived in luxury there for the rest of his life.

The film is exotic and beautiful to look at and to listen. The music of Handel is prominent, since it was Handel who most wrote for the castrati voice. Impressive are the scenes at the opera, where Farinelli dazzles and mesmerizes his audience against the colorful and elaborate Baroque stage sets. In one scene early in the film, he sings what looks like the sun god Apollo, in a feathered helmet, and is briefly interrupted by a young lady's turning the pages to a libretto. He continues his singing and finishes with an elongated note that is impossible to hold for any tenor or soprano nowadays. Today, the castrati vocal sound is extinct. Perhaps close to it, and even this by a little off, is the male countertenor or a highly developed falsetto. I find that the female mezzo soprano voice is the closest to castrati singing, especially Cecilia Bartoli. Her singing in the recent Salieri Album comes dangerously close to sounding like castrati.
In the movie, creative editing and synthesizing combined a tenor's lung power and a soprano's high top register to effectively portray the sound of a castrati, which sounded like a weird blend of male and female voices, with the female being the stronger range. With that voice, coloratura is unleashed with freedom, agility and high-flung acrobatics.

Never more impressed
I have eclectic tastes--I watch Fellini, Altman, Halstrom, Eastwood, and Campion with equal enjoyment. But I have never been more impressed with a film than with "Farinelli."

This is a character-driven story, not a plot-driven one. In "Farinelli" the essential debate in all art is fully played out on film: From whence does artistic beauty spring? From the interpretive vehicle or the creative one? From the source of the inspiration or from the one who is inspired? It even dares to ask whether there is an element of destruction in the act of creation. The triangles outlining this debate abound. Handel-Broschi-Farinelli is underscored by the relationships between Farinelli-Broschi-Alexandra and between Performer-Composer-Audience. I have seen this film 6 or 7 times and I still rediscover parallels along these themes. It is an impressive achievement to use art to outline art's own tensions without ever once losing sight of the overriding storyline or forcing your actors into unnatural posturing for the sake of making a debate point.

Others have praised the sets, acting, music, lighting--in short, the ambience and opulence of the film. All that is here. And yet all that is also in "Amadeus" and "Immortal Beloved." What this offers that the others does not is the insider's take: If you watch this movie, you will feel Farinelli's emotions, Broschi's emotions and Handel's emotions as they strive for recognition through their art. This is not a movie from which you walk away sympathizing with one character or another. This is a movie from which you walk away knowing you have lived someone else's experience for a brief time.

Farinelli-Great movie
I saw this movie in the theartre when it was new. It's such a beautiful film to look at, and the music is so incredible you forget that it's in Flemmish and you're reading subtitles.

If you like this movie I would also reccomend reading "Cry to Heaven" by Anne Rice. It's a story of the castrati and gives you an understanding of that time in history. It's a great compliment to the movie. As one has nothing to do with the other it's just a very fortunate coincidence.

It's sad that there are no recordings of these beautiful voice as this custom was stopped and those who had performed had died before machanical recordings were popular. I beleive there was one who was actually recorded by Thomas edison on his new invention.

It's something anyone alaive today will never be able to hear. ... Read more

Reviews (11)

a MUST for lovers of the book.
Ruiz's version of Proust's monumental work probably comes as close to a faithful interpretation of the spirit of the original work as a film can get. While the movie focuses on the last volume of the novel, key elements of the whole are interwoven throughout, to brilliant effect. Ruiz's surrealistic touches are at times so achingly beautiful that it takes your breath away. Ruiz made some interesting (and brave) choices regarding the plot: Swann and Albertine are jettisoned entirely, and believe it or not, it still works. The casting is uncannily on the money, with the one exception of John Malkovitch as Charlus, who appears not to have the foggiest conception of the character as written by Proust. If you haven't guessed already, this film will be tough going for those unfamiliar with the book. For Proustians: an unmitigated feast.

A Worthy Interpretation Of The Classic On Film
Director Raul's version of Marcel Prousts' Remembrance Of Things Past is captured beautifully and faithfully on film. It was made only recently in 1999, but it is essentially timeless. The strength of the film lies in the many dimensions it has, as with the novel. Proust's vision and world comes to life through the cinema, through good performances by the actors, period details and such beautiful, wistful music. The music and the way the film changes time frames, different perspectives, and the Impressionist, sensory images in memory that Proust created in the book are captured with great effect.

For those who have read the long book, and for those who are Proustian, this film is a sumptuous cinematic feast. You don't have to appreciate French literature and film interpretation, you can just love costume dramas. The French are a different breed. They love their champagne, their waltzes and always, Paris. The frivolous lifestyle depicted in Odette's courtesan climate is but one element of French society, at least as it was in the late 19th century. Swann, as we know, is the author himself. Proust put himself in Swann, and became the restless, troubled youth searching for himself but unable to find peace of mind in a corrupt world of money and societal conventions, a world who looks innocent and glossy but hides a dark secret of prostitution and frail morals.

The cast is superb. The music is delightful. What a great idea they had to cast a now older Catherine Deneuve as the courtesan whom Swann loves devotedly, Odette. This DVD is a great experienc e and I recommend this film to fans of French classics. One note: the film takes place in the latter portions of Proust's epic novel, and some of the characters and side stories were cut off due to time. Like Gone With The Wind for America, Remembrance Of Things Past is an epic masterpiece of French literature. Only there they call it "Au Recharche du Temps perdu" which literally means, in Proustian symbolism, "In Search Of Lost Time".

Great Film, Not So Great DVD
I have been a fan of Proust's novel for a long time, and I eagerly awaited this movie, having read articles about its making and, later, reviews of it. Yet I managed to miss it during the, oh, three days it played in the theater here. So I ordered the DVD the minute it became available, and I had two reactions: 1) For the Proust devotee, this is an amazing, beautiful film, probably the best that ever could be done in capturing the complexity and haunting quality of the novels. But 2) The DVD is a real disappointment: the subtitles obscure the image itself (instead of appearing below it), and they're white, set against what often is a dazzlingly white background. And of course you can't turn them off. So you can't get rid of the damn things, and you can't read them either. The image itself (the parts you can see) is pristine and gorgeous, and the sound is superb. And the movie itself--well, it's a masterpiece. Will you be able to follow it if you haven't read the books? I think so--parts will seem enigmatic, but then that's not such a bad thing. The overall story and point will, I think, be quite clear, and quite moving.

Incidentally, I agree with the reviewer who said Malkovich is miscast. I love his work in general, but he seems out of place here, and it's all too clear that he had to re-loop much of his French dialogue. Still, the role he plays, and the way the director defined that role, are so interesting that you can overlook his performance somewhat.

Proust, Captured on Film
Suffice it to say that Chilean-born director/screenwriter Ruiz tackled a monumental assignment. Reducing Proust's lengthy Trilogy (Remembrance of Things Past), to a few hours of screen time would have been beyond the capabilities of most filmmakers. That he has succeeded so well is a great credit to him and to his creative crew.

The film is told in a series of flashbacks as Proust lies on his deathbed. The flashbacks are not sequential, so at points one has to pay attention to follow along. The rewards are numerous, however. This is one of the most beautifully filmed works that I've seen in ages. The director is particularly adept at pan-shots. The moving tableaux are breathtaking, like living impressionist paintings. This is particularly true in a scene of a music recital at a country chateau. The various figures are situated on moving platforms, so in addition to the moving camera pans, the platforms also slide slowly back and forth, which makes for a kaleidescopic montage unlike anything I've seen in cinema. Ruiz and cinematographer Jorge Arriagada are artists in the truest sense.

Ruiz also managed to collect a top notch cast for the enterprise. Marcello Mazzarella is elegantly stoic as Proust. He is the artistic, calm eye of the storm as the hurricane of WWI France swirls aound him. Emmanuelle Béart, is stunningly beautiful, as always. Catherine Deneuve is a perfectly cast Mme De Crecy, though her on screen time is relatively brief. John Malkovich's French sounds pretty fair to my untrained ear. He definitely has the juiciest role as a jaded, decadent Baron of the Boulevard. Pascal Greggory chews up some scenery, as well as a boefsteak, as the gung ho, effete warrior, St-Loup (well named, as the guy really is quite loopy).

The movie is slow going at times, which well befits an adaptation of Proust, who's not exactly known for his frenetic pacing. This is a film to savor with several repeated viewings. The DVD is an excellent transfer and the English subtitles are accurate and legible. Highly recommended.

BEK

Breathtakingly beautiful
Well, I had only ever heard of Proust before this film from a Monty Python sketch of the "Summarise Proust competition" (contestants had to summarise In Search of Lost Time once in evening wear and once in bathing suit). I was worried I might hate this film, not knowing anything about Proust other than he wrote a multi-volumed masterwork about time and memory. Then I saw it...wow! I cannot praise Mr Ruiz enough for what he has achieved. The camera work, sets, and lighting are stunning. As Marcel's memory takes him back and forth through his life, the sets and furniture often move around whilst the scene is played out - all emphasising the fragility and hallucinatory qualities of his memory. And there is the music...wow again. It is never intrusive but always creates the perfect background to what is happening on screen. It is not overly sentimental and never tries to force you into feeling emotion (unlike someone like John Williams/S. Spielberg who tries to ram it down your throat). As for plot, many characters and relationships are never fully explained or revealed. Many reviewers seem offended that a film expects them to display attention and interest, but I feel that they're missing the point. Plot is often not the point of the film, instead it is a film about time and memory (hence the title!). Plot is not allowed to dominate the narrative structure, it is the emotions and memory of Marcel. The most offensive thing that some other reviewers seem to find about this film is that it is novel and original - what a crime!! I had never read Proust (and I do not speak French to any degree - I feel I should mention this for the reviewer below who complains that those who can't speak French will have problems) before I saw this film, but I have a long enough attention span and an open enough mind to appreciate the sheer beauty of its images and the wonderful originality of its style. I urge anyone remotely appreciative of excellent filmmaking to see this film. It might even, as it has with me, motivate you to read the book. I am now three and a third volumes in and it is the greatest and most beautifully written novel I have ever read in my life. Thank you Mr Ruiz and thank you Marcel! SEE THIS FILM NOW!!! ... Read more

Description

Thomas, a computer programmer, enjoys visiting webcam sites on theinternet.One of his favorite sites is that of Cathy, a girl with whom he has developed afriendship, and fallen in love.But while the two are chatting, an intruder enters her room. Thomas has her website address - nothing more - and can only watch in horror as Cathyis brutally murdered. As the only witness, Thomas also becomes a suspect until he and the beautiful detectiveassigned to the case, Claire, begin to fall in love.In order to draw out the true killer, theystart their own website using Claire as bait.But are they setting themselves up to be thenext victims and risking a chance at a relationship beyond the computer screen and keypad? ... Read more

Reviews (2)

Movie Seems Diffrent...
The actors in this movie did a great job; what
made this movie lose potential was the ending
(Which I will not reveal).

Here's how the storyline goes.
A young adult named Thomas visits a Web Cam Site
and falls in love with a nice looking lady. He
develops a habbit of watching her on his screen.
One day he logs on to her site and can't access it.
He then proceeds to "gain access" to it. He views
his "internet girl" as usual. Two seconds later
Thomas sees his lady get slaughtered.
The Police can not seem to help since the killer is
masked and Thomas viewed remotely. But then a beautiful
police officer named Claire gets involved. Afterward,
Thomas and Claire set up their own web cam hoping to attract the killer. Things really started to really start to get interesting. The movie was great until the ending.

Confusing and Messy Thriller Just Doesn't Work
Edward Furlong stars in this British/French thriller. Emilia Fox ("The Pianist"), Chiwetel Ejiofor ("Dirty Pretty Things") Elsa Zylberstein ("Mina Tannenbaum") also appear, and the director is Mathias Ledoux. Well, the stars' names are pretty impressive.

Edward Furlong is a compuer programmer Thomas living in London, and perhaps has too much curiosity. Now, he is visiting his favorite site run by 'Cathy' ... but two strangethings happen. One: the internet connection is suddenly disrupted; Two: After the connection is back, Thomas witnesses an unknown person in mask sneaking behind Cathy, and ... you know what happens next.

Yes, this is a kind of Hitchcock in the internet age, or at least it wants to be so. You expect something like 'cyber-cop'? Sorry, but as you see soon, its uninspired direction and impossible story makes it a text about 'How Not To Make a Thriller." You know, the London cops step in, but they even don't seem to know how the net works. They suspect that the most unlikely person in the world actually did it (how stupid) while they can locate the whereabout of Cathy in a day or two. That is because, one of the cops claims, they are too "old-fashioned."

Things get slightly better when a beautiful police officer Claire with knowledge about the website (Fox) enters the plot. She and her trusted partner (Ejiofor) investigate the case, and these good actors raise the film a notch higher. But the good news end here, as the story shows most unexpected (and unbelievable) development in the second half. I won't tell you about that. I only say that there are so many twists and turns, but none of them is surprising or thrilling. Why should intelligent Claire do THAT in front of a web-cam remains the greatest mystery of this thrill-less thriller.

I saw the director's previous film "En Face" (in French), which was clearly influenced by Alfred Hitchcock's films like "Rebecca." But that thrilling experience and stylish camera of the master were not to be seen then, and not now again.

Finally, to the fans of Edward Furlong. It is sad to see him doing this while he should be doing "T3" or something like "American History X." He is not good at all, and always looks too tired. I don't want to say it, but it is true.

Not to be confused with Agatha Christie, or any decent thriller. Simply a mess. ... Read more

Description

Ada (Helena Bonham Carter) is an English fashion designer living with screenwriter Paul. They have moved into a new home which is a bit above their means. Although they have been together for some time, they're not particularly happy, nor are they communicating their dissatisfaction to each other. Guido is Paul's partner in writing and he's having severe relationship problems of his own with Stephanie. Needless to say, Guido and Paul are seriously late in delivering their new script to Alphonse, a young director with diminishing patience. Into this picture emerges Lise, an up and coming fashion designer. Lise derails Ada's professional career by snagging a major assignment, and tops it off by making romantic advances towards Paul. The lives, loves, deceptions, triumphs, and tragedies of this circle of friends becomes more and more convoluted until a surprising finale blurs fiction and reality, reminiscent of Woody Allen.

... Read more

Reviews (2)

Perfect French Romantic Comedy
This is a wonderful, subtly deep romantic comedy about a group of film makers and fashion designers in Paris. With interesting, fully developed characters, no violence and real sex, it is the kind of thing Hollywood would remake poorly (e.g., compare Abre Los Ojos with Vanilla Sky) if they could--but they can't. Abortion, infidelity, "feminism" vs. "misogyny," the craving for recognition and fame--and their difference from the search for true art and love are all handled with a most delicate touch.

HBC at her best
This is a not so interesting movie completely redeemed by a wonderful performance by Helena Bonham Carter. She's beautiful, heartbreaking, funny and oh how she can speak french!!! ... Read more