1986 Directed by Derek Jarman
As influential Italian artist Caravaggio dies in exile in 1610, he recalls his short life, from his childhood to his initial artistic failures to his later triumphs as he catches the eye of a sympathetic cardinal to his destructive relationship with a dashing gambler.
Nigel Terry Sean Bean Garry Cooper Dexter Fletcher Spencer Leigh Tilda Swinton Nigel Davenport Robbie Coltrane Michael Gough Noam Almaz Dawn Archibald Jack Birkett Una Brandon-Jones Imogen Claire Sadie Corre Lol Coxhill Vernon Dobtcheff Terry Downes Jonathan Hyde Emile Nicolaou Gene October Cindy Oswin John Rogan Zohra Sehgal Lucien Taylor Simon Fisher-Turner Derek Jarman Cerith Wyn Evans
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aspire to make a historical biopic that doesn’t give a shit about coherence or the accuracies of the past and instead focuses firmly on the cock on cock action. absolutely legendary move from our premiere homosexual weirdo
idgi why are they all eating money when there are perfectly good bowls of fruit lying around everywhere
Caravaggio is a movie which is in equal parts playfully hypnotic and frequently surprisingly humorous. It's a dreamlike account formulated for the intended purposes of trying to capture the imagination of the Baroque Italian painter Michelangelo Merisi da Caravaggio. Its distinctive scenes develop to convey the principles and concepts that are at the essence of his work, and not to progress the narrative in similar manners to the more conventional biopic. Director Derek Jarman’s primary interests are about the association between art and passion, and he carefully composes the frame as if it were one of Caravaggio's paintings. It marks the debuts of Sean Bean and Tilda Swinton, as well as being the first of several collaborations the filmmaker created with her. It's a luxuriant and extravagant film which authentically captures the spirit of the defiant painter whose emotional and feral art unsettled the traditions of his time.
Derek Jarman decided to throw out historical accuracy to add more of an air of boning, and we just let him
The artist as bridge between high and low, engaged in bisexual bacchanal and bringing in vagrants and prostitutes to pose for religious paintings (which, ironically, brings them closer to Jesus' teachings that the paintings are meant to impart). A bit straightforward compared to what a trip JUBILEE was, but its pointed view of how the most beautiful artists can have connections to the least regarded elements of society is as intoxicating as its Caravaggio-esque composition.
fellas is it gay to feed sean bean gold coins and put typewriters and cars in your 17 century biopic?
Aesthetically flawless but oh my god I’m so bored. Genuinely felt impossible to develop any kind of emotional attachment to any of the characters or events on screen and I wanted so badly to love this. I hope I like some of Jarman’s other work more than this
Yeah its 1600. Yeah there’s functioning digital calculators. What the fuck are you gonna do about it?
party like it's 1599, when boys were prettier than girls and jazz rocked the Vatican
The stars are the diamonds of the poor.
Something I like to see from time to time with biopics about artists, painters specifically, is when the film looks like the very art which the individual is focuses on created. The big examples to me are At Eternity's Gate, Loving Vincent, Basquiat, and Frida. I can add Caravaggio to the list of movies that accomplish that, where even if I did not like it as much as I like the other films I mentioned above, it reaches that goal of being a unique take on storytelling for a historical figure. The anachronistic and homoerotic sensibilities of Jarman, even in scenes that aren't overtly gay or out of time, I like that…
