It’s hard to imagine former British PMs Harold Wilson or Ted Heath taking a similar interest in these outrageous paintings of the tragic human creature. It was Georges Pompidou, the cultured former president of France whose memorial is the much-loved arts centre, who officially opened the Grand Palais exhibition and was given a tour by Bacon. It starts by revisiting the Grand Palais show and explores how, from that point until Bacon’s death in 1992, he meditated on Greek tragedy and modern poetry as he repeatedly painted triptychs in memory of Dyer. This autumn, the Pompidou Centre is mounting a new Bacon blockbuster. Its spectre is now returning to haunt Paris. The peculiar impact Bacon’s art made in Paris, and the violent death that shadowed his success, made this exhibition the defining moment of his art and life. Photograph: Estate of Francis Bacon/All rights reserved/Adagp, Paris, and DACS, London, 2019 ‘Too nice to be a successful criminal’ … right panel from the triptych In Memory of George Dyer, 1971. He urged the actor, he later recalled, to “compare himself with Bacon’s human figures because I felt that, like them, Marlon’s face and body were characterised by a strange and infernal plasticity”. Bertolucci was so astounded by Bacon’s solo show at the Grand Palais – which opened in October 1971, just as he was preparing to make his film in the French capital – that he took Brando to see it. Then we cut to Marlon Brando in a camel overcoat on a Paris bridge, yelling: “Fucking God!”īehind Bertolucci’s eerie use of these oil paintings is the shocking story of an art exhibition that gripped Paris, established Bacon as the great European artist he had always dreamt of being – and left a man dead in a hotel toilet. Eventually, the two paintings are seen side by side. It is succeeded by a brutally dissected female figure sitting on a wooden chair – another Bacon portrait, this time of Henrietta Moraes. For a few moments, Bertolucci shows just this portrait – of Lucian Freud by Francis Bacon – then a sensual jazz score slowly starts, and the film’s opening credits roll alongside this unmoving canvas. He’s in a room with a green carpet and yellow walls. The film’s sex scenes are one of the reasons “Oppenheimer” is rated R - the first Nolan movie to receive that rating since 2002’s “Insomnia.” “Oppenheimer” opens in theaters nationwide July 21 from Universal Pictures.L ast Tango in Paris, Bernardo Bertolucci’s controversial piece of 70s art cinema, begins with an oil painting of a man on a red bed wearing just a T-shirt, flashing fleshy legs as his face explodes in inky smears. The director added, “It felt very important to understand their relationship and to really see inside it and understand what made it tick without being coy or allusive about it - but to try to be intimate, to try and be in there with him and fully understand the relationship that was so important to him.” “When you look at Oppenheimer’s life and you look at his story, that aspect of his life, the aspect of his sexuality, his way with women, the charm that he exuded, it’s an essential part of his story,” Nolan told Insider. Nolan said he wanted to include sex scenes between the characters to show their romance transcended politics. Tatlock’s ties to the American Communist Party “had enormous ramifications” on Oppenheimer’s life once he was accused of being a Soviet spy and investigated by the Atomic Energy Commission.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |