Artemisia (1998)

A widely acclaimed critical favorite honored with a Golden Globe nomination as Best Foreign Language Film, ARTEMISIA is the highly provocative true story of a young woman whose bold pursuit of artistic freedom and physical desire threatened the elite powers of her time! Artemisia Gentileschi, the beautiful and talented daughter of one of Italy's greatest painters, is forbiden to fully pursue her own passion for painting. When she convinces a renowned and unconventional artist to tutor her, however, he not only liberates her in the world of art, but initiates her into the treacherous world of sex and love! Following the controversy of a theatrical release that saw the original NC-17 rating overturned on appeal, Miramax Films is proud to present this important and powerful motion picture complete and unedited!

Pornograpic and not suitable for class viewing

I have done extensive research for years concerning Artemisia Gentileschi, and I am always looking for new material to share with my college students when I teach the Baroque period and the lack of women visible during that time. I previewed the DVD when it was promptly received, and I found it totally unsuitable for college viewing; I might have even lost my job! The film was well done, the costumes were gorgeous, and the nudes were attractive! June 19, 2008

"More Earth, Less Sky" ~ Lessons In Perspective

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 According to a large number of reviews preceding mine the film is greatly lacking in historical content and since I know nothing about this real life figure from the 17th century other than what is portrayed in this film I will not attempt to contradict their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. May 19, 2008

Bummer.

I've been doing a lot of research about the artist Artemisia Gentileschi, and this movie really doesn't fit the historical data that we do have about this amazing artist and woman.

It's a beautiful movie, but the facts are just wrong, especially concerning her rape by her tutor, Agostino Tassi. It is unfortunate that the filmmakers chose to portray her in this light, because she was such an amazing, talented, and strong woman. This movie really dampens her strength and determination by making her into a seductress instead of a victim. September 4, 2006

As a story and movie, it's...okay

This is the story of Artemisia Gentileschi. According to the end of the movie, she was the first woman painter to be commissioned for her work. I decided to do a little research since to be honest, I haven't heard of her. I guess from the information I have found, this film is a romanticize version of her early life. In this film, she is shown to be a precocious minx who falls in love with Agostino Tassi, her mentor. What I've read, she was raped. I don't want to give too much away, you can Google information yourself before/after or instead of watching the movie. This film borders on pornography and to some viewers I'm sure it will be pornography. Even I'm not sure. So this will be offensive to some and definitely not for children. If anyone is interested in learning more about her, I personally would not recommend this movie. Read a book about her or check out a biography of her here on the internet. August 2, 2006

Personal truths and loyalties

The movie is an evocative work of art. I encourage people to read all the reviews if they want to enjoy the movie from many different points of view. I agree with many of the positive and negative comments that have been made by other reviewers, but I will limit my comments to items not previously mentioned.

The DVD cover gives the false impression that this is a love story about two young lovers, a sort of "Blue Lagoon" from the Renaissance. It is not. It is misleading.

I concede a) the story is probably not historically accurate, b) statutory rape occurred and probably rape under any definition, & c) Tossi was probably inconsiderate, conceited, and immoral. But the quality of a film is not judged solely on historical accuracy and the high morality of the characters. Having said that, I do object that the movie, according to the rape trial transcript and some of the best evidence available, is not just inaccurate, but oppositional to what probably occurred. Therefore, I critique the film for portraying itself as the story of a real person. The movie stumbles internally because it tries to justify actual historical effects with fictional (or incorrect) causal factors. And those cause-effect relationships don't seem to ring true.

Having said that, I agree with some of Richard Burt's review comments that "historical accuracy" may still be subject to interpretation. It is reasonable that Artemisia may have been more adversarial speaking in a public rape trial (defending her freedom and reputation) than she might have been with Tassi personally. And it seems too easy to just paint Tassi as a purely evil character as other reviewers have done. There is usually more complexity and diverse/conflicting interests in most people, especially artists.

One strong objection - near the end of the film, Artemisia says, "No one dies of sorrow." While there is probably some intended sarcasm in the comment, the line frustrated me. People DO die of sorrow. My limited experience has suggested that some of the smartest, most sensitive, artistic, and caring people I've encountered were the same people most threatened by sorrow. And the people I have admired the most are the same people who have been mortally threatened by sorrow. Not selfish, controlling, or passive-aggressive sorrow, but rather sorrow that comes from other less obvious motivations - often unidentified & misunderstood misconceptions. Sorrow can lead to literal death and deaths of the spirit, character, the soul, & creativity. Sorrow is not incidental. Sorrow can destroy health. Or as the Angel of America in "Angels in America" says, "The body is the garden of the soul." Sorrow is worth full attention.

The movie tries to examine the effect of Artemisia's loyalties to her father and her teacher. The screenwriter is not bent on us assessing those relationships as simply "good" or "bad"; both relationships are drawn as having both good or bad effects on Artemesia. Her loyalties encourage her artistry and her expression. They work to create an environment that does not inhibit or conceal her gifts. At the same time, they are so intrusive that they almost certainly affect her choices, privacy, and pacing beyond her desired level of influence.

Artemisia realizes she would probably not be the painter she becomes except for her father's drive and design. At the same time, she also laments that his constant intervention narrowed the occupations she could participate in - in polite society.

May your loyalties encourage seeking and speaking the best personal truths you can find. And may the best personal truths you can find shape your loyalties.

Compare Caravaggio's "Judith Beheading Holofernes" to Artemisia's version of the same painting. Her version is more violent, realistic (less idealized in posing, dirtiness, lighting, etc.). Her version has the female servant actively helping Judith. Artemisia's paintings show a palpable understanding of hate, violence, sexuality & compassion. Artemisia likely became expressive of the personal feelings and experiences she knew best. That's why people care about whether a movie about her life characterizes her experiences accurately - because we want to know what led her to her creative decisions. July 17, 2006

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