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Caravaggio (1986)

1986 • 1h 33m • Drama, History • NR
On September 24, 2026
#15668▼ 597
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CinemaSerf on Caravaggio

7/10 · Aug 21, 2024

Sean Bean’s presence finally makes sense; I honestly can’t think of another performer so stiff, yet here he is portraying a scheming "Ranuccio" who manages to be both alluring and captivating. This is enhanced by Nigel Terry's believable portrayal of the artist himself and Dexter Fletcher’s performance as the younger, calculating Caravaggio. It offers an unrestrained depiction of indulgence and excess in papal Italy, which seemed far more concerned with sex and immoral behavior than upholding Christian principles. The closer you get to St. Peter’s throne, it seems, the more libertine one must behave. Nigel Davenport's "Giustiniani" and the underappreciated Michael Gough as "Cardinal Del Monte" perfectly illustrate this—he certainly knows how to agree! Robbie Coltrane doesn’t quite seem right for the role of the scheming "Borghese," nor does Tilda Swinton as the betrayed "Lena," but their shortcomings don't truly detract from the film, especially as the painter decides to move away from conventional, idealistic portraiture and instead depicts subjects with all their flaws—and there are many. There’s sexual openness, nudity, little is left to suggestion – it all combines to create a convincing picture of the hypocritical high society that existed at the time. While drawing on historical elements, it's largely a sexually charged fantasy from Derek Jarman, who freely takes artistic liberties and uses any opportunity to display attractive young men naked and twisting around in scenes that aren’t particularly subtle. The script isn't brilliant, and the dialogue is somewhat stiff, but this is primarily a visual experience that explores what might have motivated a man capable of creating globally recognized masterpieces amidst poverty and intense desire. I do wonder if Caravaggio was truly as infamous as portrayed here? If not, he probably wouldn’t mind, considering this vibrant example of excess in every imaginable way. It won't appeal to everyone, and certainly not serious art historians—but as a loosely historical, overtly gay film, it is somewhat effective!

Source on TMDB