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Фрунзик Мкртчян и Сергей Параджанов
Alexander Kaidanowski & Anatoli Solonizyn
Andrei Tarkovsky with print of Wladimir Wyssozki
Andrei Tarkovsky, Robert Bresson, Ingmar Bergman
Top: Joanna the Mad, 1877. By Francisco Pradilla Ortiz. Museo del Prado, Madrid.
Bottom: Locura de Amor, 1948. dir. Juan de Orduña
Top: La Belle et la Bête, 1946 (dir. Jean Cocteau)
Bottom right: Artemis the Huntress, undated. Musei Vaticani, Vatican City.
Bottom left: "Diana of Versailles", Roman, c. 1st-2nd century AD. Louvre Museum, Paris.
Top: The Dreamers, 2003 (dir. Bernardo Bertolucci) Bottom: Venus de Milo, c. 130 and 100 BCE. Louvre Museum, Paris. Photographed by Hans Mauli.
'What sculpture?' Eva Green quizzes Michael Pitt in The Dreamers.
Bertolucci's film is a treat for movie lovers with it's many references, some of them to Jean-Luc Godard's Bande à part, Marlene Dietrich in Blonde Venus, and Top Hat. But after running through the Louvre like Anna Karina, Green's character doesn't forget to throw a reference to one of the museums most famous artworks.
Top: Alatriste, 2006. Directed by Agustín Díaz Yanes.
Bottom: The Surrender of Breda by Diego Velázquez. Oil on canvas, 1635.
Alatriste is a film based on Arturo Pérez-Reverte's book series, The Adventures of Captain Alatriste and featuring Viggo Mortensen. It's set in XVII century Spain and it looks as if Diego Velazquez were the director of photography! Throughout the film there are various references to different paintings by Velázquez, including Las Meninas and his portrait of Francisco de Quevedo. If the work of Velazquez and other baroque painters were used to further tie the fiction with the period and place it's set in, it worked wonders.
I found it a visually stunning film that, unfortunately, drags the story for too long. But as an art historian, the Spanish baroque references were a pleasure.
