There are visual and verbal references to sexual activity, including a recollection by Caravaggio of masturbating another man.


Film review:Translated by www.rabudo-ru.com


Jarman’s artistic versatility has injected a unique personal style into his films. According to his own words, “I don’t think there is a gap between things. They are a continuum, so ideas floating everywhere can be expressed in different ways, whether in movies, paintings or words. For me, the distinction is imposed on us through assets and various other historical coercive orders to some extent.” He deliberately blurred the boundaries of many art forms. From this point, “Caravaggio” is a good example. The film he has planned for seven years not only has the quality of Dutch oil painting, but also all Caravaggio’s works have been re interpreted as the background of the film. Because of his professional background, many sets and lighting in jaman’s films are deeply influenced by painting.

“Caravaggio” can be said to be a beginning. Caravaggio’s unique way that seems to be the luminescence of the character itself has been repeatedly used by Jarman in his films. Later “Edward II” and “Wittgenstein” are very typical in this regard. This way of using light is easy to produce dramatic effects. Therefore, it is very consistent with Jarman’s interpretation of narrative dramatization. I think the British drama tradition has played a certain role in it. In addition, Jarman has always been interested in the combination of film text, sound and image itself. The texts benefit from Jarman’s identity as a poet. They are very concise and powerful. At the same time, there is an extreme silence in them, which is “on slow motion”. At this point, blue is definitely the best work. At the last moment of his life, Jarman explored the true color of life – blue with the artist’s instinct. At this time, his eyesight has been completely lost. Therefore, it can be said that his exploration blurred the boundary of the senses. Also blind, Borges discovered the canary – golden as the sun. In contrast, Jarman was more introverted. In terms of soundtrack, Simon Fisher Turner’s music is always in tune with Jarman’s tone. Caravaggio uses a lot of acoustic guitar playing, showing the prosperity of the Renaissance. The deep Cello in the last of England and the hidden music in blue are all masterpieces of SFT. These are all Jarman’s consistent “fuzzy” approach in artistic form. Caravaggio blurs traditional narration and avant-garde interpretation, the last of England blurs daily images and fictional images, Wittgenstein blurs philosophy and images. How can blue say that it blurs life and love. Although jaman’s films sometimes like to use pop’s Collage techniques, such as the calculator in Caravaggio and the collage of the front picture and background in the garden, they are not intentional. I think they are also the embodiment of jaman’s thought of “continuum”.

In addition, in Caravaggio, Jarman also “softens” various images, citing a professional saying that it is the skin of film. Jarman has always liked the erotic “soft” system of homosexual love in his films. The naked duel between Caravaggio and ranuccio in Caravaggio is full of male violence and homosexual eroticism, because it is an ambiguous warm yellow from the background to the human body, and the two always make eye contact until the following sudden violence. In Edward II, there is also a play of men’s double dance, which presents another kind of contrasting beauty under the simple background of cement and the illumination of strong lights. When it comes to the tenderness of the same-sex lovers in the garden, Jarman thoroughly expresses his praise for the same-sex love in his works. Although he has been walking on the edge of erotic, Jarman uses light, soundtrack and narration to passivate the sharp connotation behind the image. This can be proved by the great success of the garden in the regular cinema. Jaman has made the public accept this not sharp but frank expression.

I’m reveling

Jarman is a really wise man. His position in the film is the same as Tolstoy’s position in the novel. Just as poets always have no problem with the language of writing novels, jaman, a painter, has nothing to say on the images. Caravaggio is like a Dutch oil painting. Many outdoor lenses in the garden have warm light. In blue, it is not a randomly selected blue screen, but the famous “Klein Blue”. Jarman also prefers the grainy images presented by super-8. Such images have a strong color blocking effect, which is similar to Impressionism. They can not only show very warm things, but also make the lens full of coarse gravel. Caravaggio refused the cross when he was dying, but desperately held his dagger. Jarman also didn’t change his ideal until his death. “I hope one day, boys love boys and girls love girls”. He was attached to H.B., but wrote in his diary that he wanted to leave the world as soon as possible, just as Caravaggio loved ranuccio, but he ended his life himself. Because life still needs dignity, Jarman should live with dignity even if he wants to live, but his illness has made him unable to control everything by himself. Borges said that among wisdom, love and happiness, happiness is often the least important, and wisdom is rarer than love. Jarman undoubtedly has these three luxuries, and countless previous masters have not been able to enjoy this honor, so I revel for Jarman and bless Jarman. To sum up his films with Wittgenstein’s words in philosophical studies: “again, don’t think, but watch!”

LEAVE A REPLY

Please enter your comment!
Please enter your name here