Caravaggio (1986)

Beyond Caravagio's art there is very little evidence to support an in depth biographical study. What there is (principally a few police records) may or may not suggest a violent man prone to fits of jealous rage and violent behaviour. Jarman, however, provides a beautifully realised poetical interpretation, charged with a latent sexuality, that conveys a complex blend of urban poverty and aristocratic patronage. Jarman succeeds in placing a 'modern day' Caravaggio amongst his baroque compositions, recognising the artists's immense talent for the human form, light and shadow and use of colour. The acting is awesome and the sets show how a highly imaginative crew can pull together the essence of a period with grace and historical insight. Amazing.

Quite simply unlike any other biographical film you will ever see, Derek Jarman's acclaimed production of Caravaggio (1986) is a lovingly constructed, highly personal cross-reference of tormented sixteenth century genius, twentieth century iconography and a somewhat satire on the shallowness of the burgeoning eighties' art scene of which Jarman was very much part of. Exploring Caravaggio's life through his work, the film distinctively merges fact, fiction, legend and imagination in a bold and confident approach that will probably leave serious art enthusiasts and casual viewers outraged by the complete disregard for accurate, historical storytelling.

Shot with a typically avant-garde approach, director/writer Jarman doesn't so much fashion a biography of the artist, but rather, creates a personal reflection of the man using intimate characteristics that appeal to his filmmaking sensibilities. This makes Caravaggio more of an interpretation of the filmmaker than the artist himself; somewhat self-indulgently focusing on Caravaggio's struggle with bisexuality, perfectionism and wanton obsession; perhaps even glossing over the more intricate workings of the character, for instance, his own passion for art and his battles with the various religious and creative constraints of the period.

It's a shame some of these ideas aren't further elaborated upon, because, at its heart, Caravaggio is really an exceptional film. As I commented earlier, it's perhaps unlike any other film you will ever see; an iconoclastic vision with a cinematic imagination that knows no bounds. Caravaggio is a film in which a 16th century setting gives way to the various anachronisms of passing trains, tuxedoes, motorbikes, typewriters and chic nightclub settings. It is a film in which every frame is rendered in reference to the artist's work, composed with rich, shadowy colours that bring to mind the contrast between fresh and rotting fruit, and an unrivalled interplay between sound and production design that is reminiscent in its intense savagery of two dogs angrily ripping each other to pieces.

There is no other 'based on fact film' that has demonstrated such a wild and evocative recreation of real-life hysteria and events, with the possible exception of Peter Jackson's masterful Heavenly Creatures (1994) or even some of Jarman's subsequent projects like Edward II (1991) and Wittgenstein (1994). With a cast of now very well known faces, such as Nigel Terry, Sean Bean, Tilda Swinton, Michael Gough, Dexter Fletcher and Robbie Coltrane - not to mention some of the most beautiful photography ever committed to film - Caravaggio represents an impressive and enjoyable combination of art and cinema that is now, twenty years on, ripe for rediscovery.

every shot in this beautiful film is like one of caravaggio's paintings - a true masterpiece of cinematography. jarman shows his story telling skills off to the full, sharing his obvious fondness for the artist and his works to the extent that you feel compelled to go away and see more of his paintings for yourself after having watched this. dexter fletcher plays the young and precocious caravaggio as only one so young and precocious could, and sean bean is wonderfully spiteful and sexy as his muse. this is a film for the faint hearted art film fan - as jarman fills the film with his trademark humour eccentricities to keep you on your toes.