Customer Reviews

Artemisia

5 star:		(8)
4 star:		(9)
3 star:		(3)
2 star:		(9)
1 star:		(11)

 

 

When this movie was first released, due to the outcry from the feminist and art history communities, Miramax had to remove their claim that it was "the true story of the first female painter in art history." Actually, it is practically a complete inversion of Artemisia Gentileschi's real story...she was in fact raped by Tassi (the 'love interest' in the movie) and maintained her stand *against* him even under torture (as is documented in the records of the trial). The film romanticizes and sexualizes her and their relationship to an almost soft-porn level while giving hardly any screen time to her actual work and using her paintings out of context...which is a shame, because the real story of this remarkable woman would have been just as dramatic if not more so.

This film is a must-see for feminists and art historians although (or perhaps precisely BECAUSE) it may make you angry. It is a beautiful, intensely sympathetic study of the young Artemisia Gentileschi, her struggles to learn and grow as an artist in a society that makes it very difficult for her to do so, and her relationships with the men in her life. Artemisia has no desire to be the feminist role model that she later became (how could she? The word and concept of "feminism" didn't exist in her day), she just needed to paint. The part of this movie that infuriated feminists is its portrayal of her relationship with her much older and very disreputable teacher Tassi as consensual, rather than as a violent rape, followed by a relationship in which Artemisia reluctantly cooperated because he had promised her marriage.

According to modern definitions, of course, Tassi was guilty of some form of rape, whether Artemisia said "yes" or "no," because she was only 17 at the oldest, and he took advantage of his position of power. But there may be some truth in the movie's version of their relationship; Artemisia wouldn't be the first or the last young woman to have a crush on an older teacher, and to try out her powers of sexual attraction without fully understanding the consequences. It's true that the movie probably whitewashes Tassi's character in order to portray his relationship with Artemisia as a love story. In the actual trial transcript, Artemisia mocked him bitterly when they applied the thumb-screws to her hands during testimony, saying, "This is the wedding ring you promised me!" If she had ever felt any affection for him, it was gone by then. But if you allow the film some leeway for artistic license, it presents a fascinating study of how even a seemingly devastating experience like the rape trial and scandal could be part of an artist's growth. Artemisia's later career was not that of a poor, wronged victim; she went on to become a very successful painter.

If you are looking for a seventeenth-century period piece (full stop), this movie will satisfy your wishes. However, if you're looking for an accurate biography of "one of the first great women artists" (which is NOT necessarily the case--there were other notable female artists prior to this Baroque painter), DO NOT rely on this movie. Most frustrating is the portrayal of Gentileschi as a nearly mute pubescent girl in a constant state of sexual awakening (the rather steamy beach scene near the beginning of the movie is almost unbearable). Gentileschi's near silent portrayal is equally upsetting during the tumultuous events at the end of movie. While this reviewer does not want to give the plot away (although any recent art history book on Baroque painting can fill you in on the ups and downs of her life and career), Artemisia's silent demeanor was, according to historical records, NOT the actual situation (in other words, she did speak up for herself!). Interest in Gentileschi has peaked during the past few decades, with the rising interest in women's issues/feminist topics/etc. However, I am not sure whether this movie will help or hinder the average movie goer's understanding of this seventeenth-century artist. Keep this in mind, viewers!

When the film came out in the U.S. in May, 1998, art historian Mary Garrard, who has written a book on Artemisia, along with feminist Gloria Steinnem put up a website attacking the film as untruthful in presenting what they say was Artemisia's rape by her teacher, Agostino Tassi. But as feminist Germaine Greer points out in her chapter on Artemisia in her book on women painters, the Obstacle Race, the rape trial transcripts are not transparent, and there is evidence that suport's Merlet's construction. (They may be found in an appendix to Garrard's book.) Garrard spins them her way (Artemsia was raped, didn't love Tassi; Greer spins them hers (Artemisia was raped, but came to love her rapist); Merlet spins them hers (Merlet loved her rapist from the start). Merlet's account of Artemisia is psychologically complex and is realy intersted in a feminism that departs from the standard rape narrative (woman undone permanently by traumatic experience caused by a man). Garrrd's accpunt was savaged bya number of feminist reviewers, adn most recently calleneged (in a friendly way) by Griselda Pollock in Differncing the Canon and by R. Ward Bissell in his book, Artemisia Gentileschi. The film is one of many fictonal afterlives, including a play by Sally Clark aind three novels, three of which have been translated into English. These are Anna Banti's, Marine Bramly's (the basis for the film) and Alexandra Lapierre's. They are entitled _Artemisia_. Raudi Jamis's French novel, also called Artemisia, has not been translated. In any case, taking Merlet's film on its terms and in relation to alternative feminist readings of Artemisia's life and paintings, I think one will find it intellectually refreshing in its departures from American "pop" feminism, aesthetically pleasing, and emotionally moving. If it gets you to go read the trial transcripts and to look at Artemisia's paintings, so much the better.

I love Artemisia Gentileschi's work. I've painted her self-portrait in my art class. She and Frida Kahlo are among my favorite painters. So when I learned there was a movie about her life, I rented it. Yes, the cinematography is lush. But no, the story is not true. To treat the rape of a young lady with a cavalier attitude does this great woman and artist a terrible injustice. Artemisia painted the horrific and powerful "Judith Slaying Holofernes" as an angry reaction to her rape. We don't see this anger in the movie as she paints this vicious canvas. And that, at least in this sense, deprives Artemisia of her power. No, sadly this could have been a fine film. While I liked some parts of it, I found it too focused on her sexual daillances with Agostino. Lovely cinematography and music do not a movie make. Where was the depth of characterization? And, most importantly, where was the whole truth? But until another and better Artemisia movie is filmed, I suggest the book "Artemisia Gentileschi" by Mary Garrard. It contains the complete transcript of the rape trial. And it is far more detailed than what the movie showed.

Everybody else has clarified for you that the REAL Artemisia's story is not told here and is actually "inverted", i.e. they turn the story of her rape into a consensual love affair.

But that's far from the worst thing...I think the worst thing about this smarmy, heavy-breathing costume flick is that it makes the story of a brilliant woman painter's career into a story about who she sleeps with. And that's a terrible injustice.

The least interesting thing about Artemisia Gentilleschi is her sex life. If this film had the slightest integrity it would have at least shown her paintings. If you viewed this movie and had no other knowledge of the artist and the historical period, you would come away feeling you had watched a 17th century version of the Red Shoe Diaries...i.e., softcore porn, in this case focused on the smarmily told sexual awakening of a pretty teenage girl. Ugh.

You can skip this one... or watch if if you are an adult, but please please do not offer it up to a youngster, especially a girl, as any kind of "life of the artist" type of film (like the vastly superior "Frida" about Frida Kahlo), because this movie just sends absolutely the wrong kind of message to girls, that your sexuality is the most interesting thing about you, and talent is only another way to get laid.

Being an art and art history buff, I fell in love with this movie. It is superbly directed and the character of Artemisia draws the viewer right into Baroque Italy. I have to wonder if this historical drama is accurate, however- as I have always read that Artemisia Gentilleschi was raped by her drawing instructor, Tassi. Now I am left wondering if the history books took his prosecution at face value, if the writer of the screenplay did some in-depth investigating, or if she romanticized the story for dramatic effect (I would be very interested to hear any other viewer's opinion on this).

Whether the story is accurate or not, I felt that Valentina Cervi did an especially good job in the leading role as Artemisia. Michel Serrault's role of Tassi makes me want to see more by this actor. The sets and costumes were also entrancing.

If you are in the mood for a good romantic and historic drama, this is a good one to see. If you can't stand subtitles and don't have a romantic bone in your body, this is probably not for you.

The '98 French film `Artemisia' fluctuates back and forth between artsy, romantic, decadent, eloquent and profound. According to a large number of reviews preceding mine the film is greatly lacking in historical content and since I know nothing about this real life figure from the 17th century other than what is portrayed in this film I will not attempt to contradict their opinion. I will simply confine my comments to the film itself.

`Artemisia' is a dreamy, insightful period piece with the lovely Valentina Cervi in the role of the immensely talented painter Artemisia. The task of finding an appreciative audience for this film falls predominately on Valentina's shoulders. As she battles against the limitations placed on 17th century women by society at large one must be able to relate to the interior angst and anger of the highly artistic and emotional Artemisia if one is going to stay focused on the storyline. In my opinion Valentina did a superb job displaying her feelings and frustrations non-verbally through her expressive and angelic face and bottomless, unfathomable eyes. If you like her performance you'll enjoy the film, if you don't then it's time to move on.

`Artimisia' is a bit uneven here and there and probably too slow for some. However the scenes and dialogue between Artimisia and her art teacher and love interest Agostino Tassi (Miki Manojlovic) are beautifully done and make it well worth watching.

I knew going in that this was not the true story of Artemisia Gentileschi, but I had to see it for myself. I can see why it was changed. The studio probably wanted a tragic love story to feed to a mass audience and didn't think they could handle the true story (which I think would have been just as tragic and more effective).

I wouldn't waste a dime on this movie. Catch it on cable if you can (I saw it on a channel called 'True Stories', go figure). Changing the facts of the story do Artemisia's life and work a huge disservice. If you're reading this review, do a little research into what really happened, then watch the movie to see just how laughable it is.

The movie of Artemisia's life, and those around her, focuses on a young girl of 17, trying to further herself in the art world through work and learning, during a time period (1600) that was unwelcoming to femaile artists. She is growing into her own and represents the real life artist, Artemisia Gentileschi quite well, although they appear(according to the self portrait she painted) to look slightly different. The movie is wonderfully put together, from the glorious beach imagery, to the poetic dialogue between Artemisia and her tutor of the arts, Agostino Tassi. Although the movie may or may not have solid backing for the real relationship between her teacher, the film is beautiful and represents growth, passion for something that Artemisia held dear, and relationships between people. The film was something I remembered well, not just the average foriegn film. Loved it.