Casanova is a minor gem of a film. It is carefully bracketed as a memoir of Casanova, who is busy in his old age writing his memories in his famous book. However, this is worth paying attention to, because in a film of masks, deceptions and subterfuge, this too is perhaps the best of all possible masks. Giacomo Casanova may be many things to many people (particularly the women of Venice), but he is a very human being, if he would but know it.
After spending the greater part of his youth in pursuit of being the pursuer ('be the flame, not the moth,' he says as he gives advice to a young man in need of help courting his love) rather than the pursued, he has finally had to promise (the Doge and the Inquisition) that he will mend his ways and marry. But, in typical Casanova fashion, the woman he intends is the unofficial intended of another, and the woman he wants is not his intended, but intended to another. If you can't quite keep pace, you might be on to something. For Casanova's desire (not to be confused with his intended) is intended to another, whose identity Casanova 'borrows' to better woo her.
In the end, this is a fairly standard but well-done costume drama of mistaken identities, plots going awry, and love triumphant (of course it would have to be, for after all, this is Casanova). Heath Ledger plays a very serviceable Casanova (no pun intended, well, perhaps a little intended); Sienna Miller plays the fair Francesca, a woman with a brain far in advance of her time (she is some ways portrayed as a female da Vinci-esquire character). Lena Olin plays Francesca's mother, who has arranged a marriage for Francesca, which certainly does not involve Casanova. Charlie Cox plays Francesca's brother, Giovanni, jealous of the attentions Casanova is paying to his unannounced intended across the canal (in an interesting twist, Charlie Cox played in 'The Merchant of Venice' the year before this film was made, together with Jeremy Irons).
I was very pleased with the role played by Oliver Platt, the merchant of Genoa (coming to Venice, a very subtle, witty reversal on Shakespeare) - he played the intended of Francesca, a pupil of Casanova, a lard merchant of wealth and fame, and in the end one of the good guys. Tim McInnerny plays the hapless but good-intentioned Doge. However, highest praise goes to Jeremy Irons, who plays the papal visitor/inquisitor, Bishop Pucci, who, if he isn't threatening inquisitorial tortures on illiterate philosophers or falling over backwards in boats is promising to restore the virginity of young maidens. Irons provides a delightful mixture of terror and farce that plays in both comedic and dramatic ways, and he looks every inch the post-medieval bishop.
The sets are stunning - of course, this was filmed on location in Venice, so how could they be otherwise? The music is well-selected and drawn into the overall film, using Italian and Italian-influenced compositions of the Renaissance and later periods heavily.
This is a fun film, with an unexpected ending in several ways, but love reigns triumphant, and Casanova (in a very interesting twist) both 'gets the girl' and continues his amorous ways - but I'll not spoil it for you.
After spending the greater part of his youth in pursuit of being the pursuer ('be the flame, not the moth,' he says as he gives advice to a young man in need of help courting his love) rather than the pursued, he has finally had to promise (the Doge and the Inquisition) that he will mend his ways and marry. But, in typical Casanova fashion, the woman he intends is the unofficial intended of another, and the woman he wants is not his intended, but intended to another. If you can't quite keep pace, you might be on to something. For Casanova's desire (not to be confused with his intended) is intended to another, whose identity Casanova 'borrows' to better woo her.
In the end, this is a fairly standard but well-done costume drama of mistaken identities, plots going awry, and love triumphant (of course it would have to be, for after all, this is Casanova). Heath Ledger plays a very serviceable Casanova (no pun intended, well, perhaps a little intended); Sienna Miller plays the fair Francesca, a woman with a brain far in advance of her time (she is some ways portrayed as a female da Vinci-esquire character). Lena Olin plays Francesca's mother, who has arranged a marriage for Francesca, which certainly does not involve Casanova. Charlie Cox plays Francesca's brother, Giovanni, jealous of the attentions Casanova is paying to his unannounced intended across the canal (in an interesting twist, Charlie Cox played in 'The Merchant of Venice' the year before this film was made, together with Jeremy Irons).
I was very pleased with the role played by Oliver Platt, the merchant of Genoa (coming to Venice, a very subtle, witty reversal on Shakespeare) - he played the intended of Francesca, a pupil of Casanova, a lard merchant of wealth and fame, and in the end one of the good guys. Tim McInnerny plays the hapless but good-intentioned Doge. However, highest praise goes to Jeremy Irons, who plays the papal visitor/inquisitor, Bishop Pucci, who, if he isn't threatening inquisitorial tortures on illiterate philosophers or falling over backwards in boats is promising to restore the virginity of young maidens. Irons provides a delightful mixture of terror and farce that plays in both comedic and dramatic ways, and he looks every inch the post-medieval bishop.
The sets are stunning - of course, this was filmed on location in Venice, so how could they be otherwise? The music is well-selected and drawn into the overall film, using Italian and Italian-influenced compositions of the Renaissance and later periods heavily.
This is a fun film, with an unexpected ending in several ways, but love reigns triumphant, and Casanova (in a very interesting twist) both 'gets the girl' and continues his amorous ways - but I'll not spoil it for you.