Une courtisane vénitienne devient une héroïne pour sa ville, mais devient plus tard la cible d'une inquisition de l'Église pour sorcellerie.Une courtisane vénitienne devient une héroïne pour sa ville, mais devient plus tard la cible d'une inquisition de l'Église pour sorcellerie.Une courtisane vénitienne devient une héroïne pour sa ville, mais devient plus tard la cible d'une inquisition de l'Église pour sorcellerie.
- Director
- Writers
- Stars
- Prix
- 2 nominations au total
Avis en vedette
It's not a smart period piece, let's start with that. The 'jovial' verbal sparring that goes on between Veronica and Platt's character is trite, and with clumsy innuendos. The sexual fascinations the men of Venice have with Veronica comes off as somewhat artificial, and Veronica herself, doesn't seem like such a dangerous beauty. The emphasis for power and intelligence in courtesans is quite clear in the film, but apart from showing her reading a couple of books, this doesn't come across. The exchange between Veronica and King Henry was set up to be challenging, and interesting, and then too easily resolved. The conclusion between Marco and Veronica's characters ripped right out of a Harlequin romance, and not given any sort of punch to make it favorable. I was hoping that Veronica would truly be strong, and assert herself as a powerful woman, but her weaknesses and what she gave into demeans this. And Paola, her mother, was quite shocking and somewhat incredulous. The film tries to explain her motives for pushing Veronica to become a courtesan, but the training session sequence still leaves an uneasy feeling about her.
I sound quite unforgiving towards the film, so here I admit there were some good moments. Veronica explaining the not so glamorous part of a courtesan's life. The court scene (though the conclusion was still a mite too easy) held some power the rest of the film should have. Veronica's interactions with Domenic. And the Minister Rimbarti was a very sympathetic character and he stood out in the scenes he was in.
So all in all, it's okay to watch, but if you're expecting something that actually has meaning look somewhere else.
The film is a bit slow in the beginning, but don't give up because this is one incredible piece of dramatic art.
A story of some historical sweep, wit and romance, we are first drenched in the sunlight and beauty of Venice. As the film builds I was impressed by the talent, charm and strength of the hero, Veronica Franco, poet and courtesan.
Through two amazing events she saves Venice twice first by getting help to defend itself from invasion and later by standing up for its spirit of independence. Intertwined with this is a touching romance made bitter sweet by the pressures of arranged marriages, the terrible limitations upon women and the twisted power of envy.
This film works on many levels, the photography and music are top notch as are the settings and costumes. The acting is fine including the main roles played by Catherine McCormack and Rufus Sewell. (Just don't expect Blanchette and Joseph Fienes.)
If you like historical dramas with romance, intrigue and lovely scenery then I strongly recommend Dangerous Beauty.
Le saviez-vous
- AnecdotesThe Veronica Franco depicted in the film was a real person. She was born in 1546 and died in 1591, at the age of forty-five. She was the most famous courtesan in Italy, but she was also famous for her satire and for her poetry.
- GaffesThe books shown in the movie are printed on paper that is too thin and too white for 16th century. Also, the typeface is too small. Until 1843 paper was made exclusively from rags and this resulted in paper having large fibers and rough surface. Printing ink smeared on the fibers and so printers had to use large typefaces (equivalent to modern 16-18 points at least). White color of paper required and still requires copious use of sulfuric acid that was not available before industrial revolution too. It was not until late 19th century then modern quality paper, such as the one shown in the movie, was developed.
- Citations
Veronica Franco: I confess that as a young girl I loved a man who would not marry me for want of a dowry. I confess I had a mother who taught me a different way of life, one I resisted at first but learned to embrace. I confess I became a courtesan, traded yearning for power, welcomed many rather than be owned by one... I confess I embraced a whore's freedom over a wife's obedience... I confess I find more ecstacy in passion than in prayer. Such passion is prayer. I confess - I confess I pray still to feel the touch of my lover's lips, his hands upon me, his arms enfolding me... . Such surrender has been mine. I confess I hunger still to be filled and enflamed. To melt into the dream of us, beyond this troubled place, to where we are not even ourselves. To know that always, always, this is mine... If this had not been mine - if I had lived any other way - a child to her husband's whim, my soul hardened from lack of touch and lack of love. I confess such endless days and nights would be a punishment far greater than you could ever mete out... You, all of you, you who hunger so for what I give but cannot bear to see that kind of power in a woman. You call God's greatest gift: our selves, our yearning, our need to love - you call it filth and sin and heresy... I repent there was no other way open to me. I do not repent my life.
- Bandes originalesUngaresca e saltarello
in "Artificio Scientia La Selena"
Composed by Giorgio Mainiero
Per S. Naria Della Pace
Meilleurs choix
- How long is Dangerous Beauty?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Dangerous Beauty
- Lieux de tournage
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 8 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 4 553 271 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 105 989 $ US
- 22 févr. 1998
- Brut – à l'échelle mondiale
- 4 553 271 $ US
- Durée1 heure 51 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.35 : 1