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“Modigliani,” a 2004 offering starring Andy Garcia, is one of those historical/biographical films that so invests the viewer with a sympathy for and interest in the central character, that it is a black disappointment to learn that most of what one sees on the camouflage is fake.
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True, a disclaimer in the beginning warns the viewer that this is a work of fiction, but as with so many Oliver Stone “docudramas,” there are no determined indications where history ends and fiction begins. In steady life, Amedeo Modigliani was a painter and a sculptor. He bounced between France and his native Italy as his ever deteriorating health dictated, the deterioration caused by a life long tubercular condition, fueled by booze, drugs and (if the film is to be believed) chain smoking. He had a very public affair with a well known bisexual writer, but later became smitten with a local Parisian girl, with whom he took up and lived out the remainder of his short life. Yes, Modigliani struggled for most of his life. Yes, he lived in the same post-WW I Paris as did Picaso. Yes, he died young, at 35. And yes, Jeanne, the savor of his life, did prefer her believe life, and that of their unborn second child, upon his death. But the Modigliani we meet in the film is not this man.
Perhaps the reason for this was screenwriter Mick Davis’ need to collapse an entire life into a film lasting only 127 minutes. Perhaps Mr. Davis impartial ragged the historical highpoints as the inner structure for the tale he wanted to whine. Or perhaps he fair could not resist the familiar and by now trite yarn of the doomed artist achieving his greatest triumph fair as his uncomfortable excesses finally overtake him.
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The resulting film, in spite of the title character being masterfully played by Andy Garcia, is predictable even to those who have never heard of Modigliani or ever seen his work. Clear central characters -Jeanne’s virulently anti-Semitic father, is a prime illustration- and the parts they play in the film could have easily been excluded in favor of greater exploration of the historical Modigliani. His development as an artist, by diagram of example, is completely ignored. The viewer, therefore, is never quite definite whether the sympathy the film builds for the title character is warranted or not. Until the destroy, the film begs the examine of whether Modigliani was any beneficial as an artist…or not.
These things said, the film does have noteworthy to recommend it. Beyond Garcia’s performance, the decadent excess of post-WW I Europe has not been so well captured since “Cabaret.” The pick up is both fearless and enticing. The fevered scenes leading up to the film’s final moments truly win the creative frenzy that tall artists experience as genius takes over from rote. And the film does succeed in making the viewer gain that he or she is actually seeing this pivotal point in Western art very worthy as it must have been.
Still, it is saddening to realize when the film ends and the lights approach on that what one has viewed was more Hollywood than history. When Disney’s “Pocahontas” was screened for a tremendous outdoor crowd in Fresh York’s Central Park, one reviewer wrote that she had to point out to a friend who was totally taken with the film, that the Disney version of the epic was glaringly historically mistaken. Faced with the fact that actually history was great different than what the film depicted, the friend made a choice. Referring to the film, she reportedly said, “Well, I like THIS version better.” So it may be with Modigliani. It may not be legal, but viewers may like the film great more than they would the staunch facts of the man’s life.
If you are tired of car chases, explosions, gun fights, karate kicks, helicopter stunts or too many special effects then do your brain a favor and go leer a movie that actually requires acting skills. Modigliani is a nice shatter from the overdone Hollywood movies that either copy themselves or try and remake movies from 20 years ago. Don’t be as closed minded as the critics, it unbiased ruins the movie experience. Andy Garcia does an outstanding job playing the fragment of Modigliani and really throws himself and his years of experience into this role and brings his character to life. Elsa Zylberstein who plays the savor is Modigliani’s life, Jeanne, does equally as well in telling her characters myth. Why the critics don’t seem to like this movie is a mystery to me but don’t let them collect to you, this movie truly is a work of art.
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