Casanova

Synopsis: In 18th century Venice a young rake by the name of Giacomo Casanova (Heath Ledger) spends his time seducing women, escaping irate husbands, and eluding the Pope’s inquisitor, Bishop Pucci (Jeremy Irons) who would have him hanged for licentious behaviour. When Casanova meets the beautiful (and occasionally cross-dressing) feminist, Francesca Bruni (Sienna Miller), his heart is finally stolen, but by a woman who does not seem to want him.

Casanova is not a film to be taken seriously as an accurate historical piece and coming from director Hallstrom it bears his characteristic soft-heartedness, but it is also his most playful and comedic film to date.

The biggest delight is that here is a Casanova with a contemporary sensibility – young, at times vulnerable, and full of the exuberance of life. Ledger plays the role with an understated charm, at once sexy, witty, scheming, and sensual rather than overtly sexual (in fact, sex is scarcely seen in this film!). He makes the legend come to life and we totally believe why he had women falling at his feet. Another major contribution to the film’s modern overtones is the character of Francesca. The beautiful and sexy Miller brings all the feistiness, intelligence and independent spirit you could easily find in a woman of today to her role. Ledger and Miller are strongly supported by a splendid cast. Irons delicately balances comedy and menace in his role as the beastly bishop. Oliver Platt almost steals the show in his role as Paprizzio, betrothed husband to Francesca, who becomes the unwitting victim of one of Casanova’s major deceptions. Lena Olin is delectable as Andrea Bruni, Francesca’s mother, Charlie Cox gorgeously innocent as Giovanni, her brother, with Omid Djalili putting in a great comic turn as Lupo, Casanova’s manservant.

Not the least of the film’s charms is that it is shot entirely in Venice, and utilises many actual locations never before used in major feature films. This of course adds romance, realism, intrigue, and a myriad of dazzling visuals. As it did in Nicolas Roeg’s Don’t Look Now, the city itself becomes almost another character in the movie. The recreating of Carnevale in the Piazza San Marco is the basis of a major scene, and not only is it visually lavish, but the excitement and intrigue are palpable. Deception is of course intrinsic to the plot, and with Carnevale being a masked affair, there are many wonderful moments of mistaken identity. Disguise looms large, both in actuality and as an underlying theme woven into the film’s characters.

The film has a certain stylised manner, partially reminiscent of French farce, but also paying homage to the Italian Commedia dell’Arte. The plot barrels along at a rollicking pace, and the witty lines and non-stop action are all delivered with great timing. Sure it’s fluffy, and takes liberties with the so-called ‘facts” of the Casanova story (there’s a cute twist in the final minutes!) but this is so much fun and a good antidote to the doom and gloom of today’s world.

 

 

Want more about this film?

    

Want something different?