A spectacular and unique essay film. At once a philosophical rumination on the connection between art and power, a history of the Louvre- particularly during the Vichy regime, and a surprisingly powerful and human narrative of the French civil servant and German aristocrat and Nazi officer who collaborated to save the collection from plunder.
Unflinchingly, the film equates art with plunder. As any serious study of the Louvre must, by definition, be this is a tale of Napoleon, invasion and imperialism. The Emperor is himself a character in the film, haunting the halls of his museum and reminding the director/narrator that all of the paintings are of him, for none of it would be there without his power.
The point is also made that Paris was sparred the devastation of the war in no small part because the leading Nazis loved classical art and wanted the Louvre's collections for Germany and themselves. In a real sense, then, the film must uneasily acknowledge, the German regime was responsible for the preservation of much European cultural treasure. The Louvre, though to a degree the very phenomenon of the art museum, is made to seem like a place where humanism, the preservation of the human image, and sheer political force, come together.
Sukarov's imagery is characteristically spectacular. The amazing, painterly light that he most often brings to the human face he here brings to the urban face of Paris. This film includes some of the best uses of crane shots that I think I've ever seen.
Unflinchingly, the film equates art with plunder. As any serious study of the Louvre must, by definition, be this is a tale of Napoleon, invasion and imperialism. The Emperor is himself a character in the film, haunting the halls of his museum and reminding the director/narrator that all of the paintings are of him, for none of it would be there without his power.
The point is also made that Paris was sparred the devastation of the war in no small part because the leading Nazis loved classical art and wanted the Louvre's collections for Germany and themselves. In a real sense, then, the film must uneasily acknowledge, the German regime was responsible for the preservation of much European cultural treasure. The Louvre, though to a degree the very phenomenon of the art museum, is made to seem like a place where humanism, the preservation of the human image, and sheer political force, come together.
Sukarov's imagery is characteristically spectacular. The amazing, painterly light that he most often brings to the human face he here brings to the urban face of Paris. This film includes some of the best uses of crane shots that I think I've ever seen.