Georgia O'Keeffe

I like the basic story; however, I really was disappointed in the director, the DP, and the Gaffer (the person who lights the scenes). The story clearly demonstrated the tumultuous relationship she had with her husband, and control freak, Alfred Steiglitz. That dynamic is very important in explaining who O'Keeffe was. However, I did not like the technical achievements for the NYC shooting (although I hear the whole film was shot in Santa Fe). First of all they used key lights that were too strong and must have had a Kelvin temperature over 7000K--made everybody look (skin tones) extremely cold and blue for all those scenes. This looked weird for something happening in the 1920's-30's. The lighting should have been very warm to match the approximate 2500K light bulbs that existed then. If you want to see a good scene setup, look at Clint Eastwood's "Changeling". Every scene in Changeling was beautiful, and I really felt I was in that time frame. When she went to Taos, NM, the lighting and color pallet looked great. Next I felt that the director tried to accelerate her story, AND I feel the director really messed up after he finally ended the story when she permanently settled in NM and only used "end statements" that stated she's considered 'one of the greatest female painters'. Well YES!!...her greatest work began after the story ended and we see nothing of her fantastic emergence or artistic accomplishments which also included connecting with Ansel Adams(and her former husband was a photographer!!). Her work continued on to 1986 when she finally died, and we see none of this. It was like the point of this film was to only show the tumultuous ordeal with her husband and her eventual breaking away from that poisonous marriage. That was not the title of this film.

Let me first state that I am a professor of Art history so my opinion should carry some weight. Having said that, the actual story of O'Keeffe and Stieglitz is told rather faithfully. My complaint stems from the sloppy production. The opening scene sets the tone: New York 1916 is actually Chicago 2009! You can see the flag of Chicago hanging on one of the buildings! Also O'Keeffe was not in New York until 1918. The cars, hats and hemlines are all from the '20s (like we wouldn't notice).

The second time we see "New York " it's the Chicago Board of Trade complete with the Rookery on the left! Lazy, sloppy production. You couldn't find any stock footage of NYC?

Before seeing this movie, whenever I thought of Georgia O'Keefe I pictured this older woman in a studio in Santa Fe painting flowers and stunning landscapes. This movie finally got to my stereotypical image but it filled in details of O'Keefe's rich, varied, long life along the way.

O'Keefe's work had attracted the attention of famed photographer and art dealer Alfred Stieglitz who exhibited some of her work in New York in 1916. A couple of years later O'Keefe moved to New York and the professional relationship with Stieglitz, who was over twenty years older than her, ultimately turned into a personal one resulting in marriage in 1924.

I always have some reservations about how truthful a biographical picture is, particularly in a case like this where, at the time the screenplay was written, O'Keefe had been dead for over twenty years and most of the people in her life had been dead for upward of fifty years. For example, what are we to take away from the scene about the argument that O'Keefe had with Stieglitz regarding her wanting a child and his blunt refusal? Is that pure speculation? Giving it the benefit of the doubt, I assume the general sweep of her life as presented is accurate, and indeed reading the Wikipedia entry for O'Keefe seems to bear this out. For movies based on a true story I often ask myself why not just read the appropriate Wikipedia entry and skip the movie. But, if properly done, it is easier to get involved in a movie and come away with more lasting impressions. It is often the case that a good movie based on a true story, as this one, will prompt me to do some independent research. There is no lack of O'Keefe biographies, video, and art books out there.

In looking at some of the images of O'Keefe, Stieglitz, and Mabel Dodge, the actors playing those parts (Joan Allen, Jeremy Irons, and Tyne Daly) are well cast as to physical appearance and all do good work.

I wish more of O'Keefe's paintings had been tightly woven into the story.

Have a high appreciation for art, despite never being particularly good at it myself. Of which Georgia O'Keeffe was one of the twentieth century's best and most important female artists. Regardless of any historical liberties, also really like to love a lot of biographical films. And then there is Joan Allen and Jeremy Irons in the lead roles of O'Keeffe and Alfred Stieglitz, regard them highly as actors (especially Irons, who is one of my favourites). So there was a good deal that made me want to see 'Georgia O'Keeffe'.

'Georgia O'Keeffe' was a decent film and does intrigue, with the two leads and their chemistry being the main reason really to see it. At the same time it was a little disappointing and somewhat superficial and under-explored. As far as biographical dramas about artists go, it's not one of the best or most illuminating, enough to recommend it but what could have been a work of art in the right hands doesn't have enough of a flourish and was a slight missed opportunity.

There are good things that are done well in 'Georgia O'Keeffe'. Allen makes a big impression as O'Keeffe, very nuanced with a lot of bold honesty. Irons gives his absolute all as Stieglitz, not as subtle as Allen (the way Stieglitz is written plays a part in this) but the charisma and intensity are there. A very good effort is made making both look like O'Keeffe and Stieglitz and it's a successful one, with some very well-crafted prosthetics/make-up, while Allen and Irons' chemistry is quite magnetic. O'Keeffe and Stieglitz's relationship features prominently here and it is actually very interesting, it's tempestuous but the film allows some more intimate moments to stop it from being over-the-top.

Alongside the depiction of their relationship, what also stands out in the story is the conclusion which is really quite moving, it is in the conclusion too where we most see the too fleeting moments of how O'Keeffe saw human nature. The scenery is stunning and complemented by some nice photography. Tyne Daly and Ed Begley Jr are particularly admirable of the competent if not always remarkable supporting cast in somewhat under-explored roles.

Do think though that despite the central relationship being done very well it could have featured less and there could have much more of how O'Keeffe saw human nature, her as an artist and how she worked. We never properly get to know her properly as a person and there is not enough illuminating about her work, art itself or her as an artist. 'Georgia O'Keeffe' too would have benefitted more from more show and less tell, would loved to have seen more of her work and creative talents shown and less of the film telling us about it.

Especially, like primarily in the voice over, when it doesn't always add much and has too much glossing over. The voice over over-explains, is rather superficial cliff-notes-like and wasn't really necessary when what is said could easily have been shown. O'Keeffe's art is beautiful and so vivid, and should have featured more.

Summing up, decent but could have been better. 6/10

Don't get me wrong, Allen and Irons are quite good in the film. (Irons seems to be channeling Daniel Plainview) Im just a little disappointed...

I personally would have liked to see her actually painting a bit more...or at least some insight to her thought process. The plot is really about her seemingly symbiotic relationship with Alfred Stiglitz.

There also seems to be a lot of gray areas in her later life that the film just sums up in a monologue, but Its a made for T.V movie...I guess we cant have everything. Something tells me it should (was it meant to be?) have been made into a feature. Its not bad, just could have been better.