La película más aclamada de Derek Jarman es un intoxicante retrato de amor.
Jarman mismo describió "La Conversación Angelical" como: "mi más sobrio trabajo, pero también el más cercanos a mi corazón, a un mundo ideal, a un mundo mágico y de rituales, y con todo eso, imágenes de coches ardiendo y sistemas de radar, que te hacen recordar que hay un precio que pagar para ganarse ese sueño frente a un mundo de violencia."
Intenso, ensoñador y poético, "La Conversación ANgelical" es una de las películas más artística de Derek Jarman y es su cuarta obra. Es casi más un objeto estético que una película. Con su ojo de pintor, Jarman invocó, en una hermosa paleta de luz, color y textura, una visualización evocadora y radical de los poemas del amor de Shakespeare.
El director basó la inspiración pasando imágenes stop-printed Super-8 al formato de 35 mm resaltando asi el grado de aspereza exagerada de dos jovenes hermosos que suben rocas, arrastran cargas y nadan, haciéndolos casi abstractos los 154 sonetos escritos por Shakespeare.
La Mayoría de estos sonetos fueron escritas a un hombre joven innomado, referido comúnmente como la juventud justa.
El ajuste de Jarman para los catorce sonetos de Shakespeare no es ninguna narrativa como tal, y el único diálogo que hay es la de la emotiva lectura de los sonetos por Judi Dench al son de las etéreas secuencias de los jovenes en las costas, por las olas y en los jardines coloridos que nos hiptonizan hermosamente.
La interrupción de estas escenas mágicas con imágenes de panoramas estériles y amenazantes hace eco perfectamente la celebración y el tormento del amor explorados en los sonetos. Sus cuadros de cuevas, rocas, agua y figuras texturizadas en un paisaje extraño y terrible devuelve esas similitudes pictóricas: La menor pesadilla religiosa de un Bosch o Brueghel. Indiscutiblemente una romántica y bien pulida obra del retrato del amor de Derek Jarman que no podemos dejar de deleitar.
Download y Archivos de Extracto del Film: 'The Angelic Conversation' .
Método 1: Auto-Extracción de Archivo. (PC) Descargar los archivos en una misma carpeta y después cliquear en el archivo “xxx.part01.exe” y el film se extraerá automáticamente. (MAC) Necesitará un Archivador de línea de comando como el “Rar for Mac OS X”
' SEX, VIOLENCE, PASSION AND DEATH COME TO A RAGING BOIL IN ALMODÓVAR'S PAEAN TO ROMANTIC KITSCH'
Pedro Almodóvar is a salacious romantic who's both ironic and unabashedly emotional. At his best, he has a keen eye for how the conventions and clichés of movies color our expectations of the real world as well as our fantasies. Consciously going beyond the bounds of respectability, Almodóvar knows that movies are never more sensual or alive than when they defy those limits and venture into the forbidden.
He's never gone further than he did in 1986's "Matador." This voluptuous mixture of black humor and subterranean sexuality starts out at an extreme pitch and gets deeper into the characters' obsessions as the movie proceeds. Nevertheless, the larger-than-life passions of the killer/lovers Diego and Maria should be recognizable to anyone who loves the movies. It's a consistently audacious fantasy of sex and violence set in a modern-day Madrid where everyone is ready to surrender to his or her particular passions.
The opening is shockingly funny (or maybe shocking and then funny): A man sits in front of his TV masturbating to a montage of repulsive slasher-movie images playing on his VCR. The man is Diego (Nacho Martinez) a dashing former matador prematurely retired after a career-ending injury who rehearses the principal tenets of the art of the kill at a converted classroom on his estate to a group of aspiring bullfighters, including an unlikely, hypersensitive student named Angel Giménez (Antonio Banderas).
The training lecture then cuts to the image of a beautiful, enigmatic woman sitting on a park bench, María (Assumpta Serna) as she initiates contact with an anonymous man innocuously passing by, follows him back to an apartment, and, at the height of physical intimacy, stabs him with a long ornamental pin behind the nape of the neck - in the region between the shoulder blades defined in bullfighting as the cleft of the clods. The shot then cuts back to the training grounds as Angel, intrigued by (and undoubtedly, attracted to) his instructor, follows Diego back to the house for a drink of water, and soon grows anxious when the conversation exposes his inexperience with women. In retaliation, Angel attempts to prove his masculinity by stalking Diego's lover - a young model named Eva (Eva Cobo) - in an impulsive act that culminates in an equally humiliating failed sexual assault. However, unable to be taken seriously by the police, Angel decides to confess to a series of murders after viewing the crime scene photographs on the commissioner's (Eusebio Poncela) desk, and in the process, unwittingly unites the paths of the crippled, morbidly aroused Diego and the fatally seductive María.
Pedro Almodóvar creates a highly sensual, deliriously overripe, and stylistically audacious portrait of love, death, fate, and violence in Matador. From the opening shot of the iconic matador, Diego, deriving sexual gratification from watching a horror exploitation film, Almodóvar establishes the interrelation between sexuality and savagery: the parallel cutting of the bullfighting training with María's precise and ritualistic murder; Angel's validation of his masculinity through Eva's attempted violation; Diego's initial pursuit of María inside a movie theater as the tragic, final sequence from Duel in the Sun unfolds; Diego's repeated playback of the his fateful goring, spotting María on video among the spectators.
Almodóvar further uses environmental elements to underscore emotional state, from the idyllic clouds that precipitate Angel's consuming, morbid visions, to the portentous inclement weather that punctuates his encounter with Eva, to the total eclipse that materializes during the final encounter. By articulating profound connection through instinctual aggression, Matador serves as a bold and provocative allegory for the self-destructive cultural legacy of machismo, bravura, and ritualistic violence. ~ Salon & Acquarello
Note: Almodovar used a very vibrant, young and sexy Antonio Banderas in several of his films of this period.
Method 1: (For PC) Download files into the same folder. then click on the '.part01.exe' file and the film will self extract. (For Mac) You need a Command Line Archiver like Rar for Mac OS X'
"All art is against lived expression. How can you compare flesh and blood against pigment?!!....I have trapped pure spirit in matter!"
Rarely would 5 stars not be sufficient to express the magnitude of greatness in a film, but Derek Jarman's 'CARAVAGGIO', the director's homage to the late Baroque painter, his life, his view of art, his sexuality and his struggle with life versus art, staggers the mind with the intense detail and love with which Jarman treats this fascinating and tortured artist. The film's director and the film's subject is best summed up in Caravaggio's quote while painting; "All art is against lived expression. How can you compare flesh and blood against pigment?!!....I have trapped pure spirit in matter!" This was the creed and the mission, almost Holy Grail of Caravaggio, as well as the late Jarman himself ; to take life and mimic art, and to make art mimic life!
Writer/director Derek Jarman and Italian masterpiece artist Michaelangelo Merisi da Caravaggio (1571-1610) cannot and will not be separated in this film. The director and the artist are soul mates in life and art, 400 years apart in time, but indelibly linked in common purpose in life and purpose. Jarman, always the provocateur in film sees Caravaggio the same as himself; struggling against all convention, religion, and social norm to capture the human spirit on canvas and on film. Jarman honors Caravaggio's famous figures that illuminate out of the blackened background of the canvas rendering all of the film's scenes in that same spirit. Actors Nigel Terry, as Caravaggio; Tilda Swinton as Lena the prostitute; Sean Bean as the street trade object of desire Ranuccio Tomassoni; Michael Gough as the pederast Cardinal Del Monte; and Spencer Leigh as the deaf mute who is Caravaggio's lifelong apprentice Jerusalame are all realistically portrayed as the true humans they were in forming Caravaggio's stable of models, friends, rivals, tutors, admirers and jealous lovers, all of which were the real life people who were the John the Baptists, Baachus' and Virgin Mary's of his 50 great masterpieces. Jarman frames each scene as Caravaggio would have seen it; he shows us how the artist saw the human life as it was and painted it into The Divine. This, of course, was a prevailing criticism of the time placed upon Caravaggio's work; he used live models, not pictures, to portray what he was to put to canvas. This upset many other artisrs, and infuriated the Church, though secretly Cardinals and Popes commissioned his work as "intimate chamber pieces known for their homoerotic ambience" but hid them behind curtains in the Salon!) Derek Jarman Derek Jarman makes no apology for his open homosexuality, as Caravaggio made no apology for his work and fascination with the male form. Therefore, this film has a strong emotional connection between the filmmaker and the painter; the two understand one another deeply and Nigel Terry, as Caravaggio, is overwhelmingly the artist on screen. The subject of pederasty, older male taking under wing the younger male (which was quite common in the day- not just simply apprenticeship) is openly examined in 'CARAVAGGIO', relationships not only tutorial in the mind, but educational of the body also.
There are many levels on which this film can be viewed. Jarman, undoubtedly intends it to be that way; 'CARAVAGGIO' is about art and the artist, but it is also about human desire, passion in life, and passion in Art.
One viewing of a Jarman film is NEVER sufficient. To see it as pornography (as some are wont to do) does no credit to the filmmaker or the 17th -century genius who gave us paintings such as "Death of the Virgin", "The Incredulity of Thomas", "The Cardsharps","The Calling of St. Matthew", "Amor Vincit Omnia","Boy With a Basket of Fruit", "Young Sick Baachus" as well as "The Entombment of Christ." Jarman cleverly and with awe and reverence "stages" all of these paintings with great precision within his film. Even the famous "The Calling of St. Matthew" is hilariously framed as a sniping news critic types his critique of Caravaggio in a bathtub with the famous "ray of light", that is in the painting, streaming through a window upon the man! Such is the imaginative Jarman, who never shies away from shocking images that to some seem senseless.
Caravaggio the artist, who was sexually open with both men and women, who was put into exile, who needed a papal pardon, who painted life as he saw it, who was constantly arrested for brawling and who died under mysterious and controversial circumstances and whose life has been biographied countless times by "experts" who vehemently disagree about him!
Jarman is not just wanting us to see Caravaggio as a historical figure, but is interested in painting a canvas of the celebration and hardships of humanity on film. ~ Kerrlines "CARAVAGGIO' features wonderful performances from Nigel Terry, Sean Bean, and in her first role, Tilda Swinton, who was to become Jarman's muse and long time collaborator. A visual treat, it was the first major film production for award winning costume designer Sandy Powell, with luscious production design by Christopher Hobbs.
Method 1.) File Self Extraction. (For PC) Download files into the same folder. then click on the 'xxxx.part01.exe' file and the film will self extract. (For Mac) You will need a Command Line Archiver like Rar for Mac OS X'
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