"El Greco" is the engrossing story of the great artist's years in 16th century Toledo. With the preponderance of films dealing with English and French history in cinema, this film gives a much needed, rare and welcome glimpse of the Spanish culture's rich history. Ferrer accomplished an exceptional feat in producing this film and acting the title role. It is obviously a labor of love, with the costumes, settings, music, and events beautifully evocative. Having seen many of the works ("The Death of Count Orgaz", etc.) and the artist's Toledo workshop in person, I can vouch for the period authenticity. Some of the events will come as a surprise when the religious and mystical content of his work is considered. As the film portrays, El Greco ran afoul of the Inquisition and later produced some of his greatest works out of his greatest anguish. A must for lovers of art and Spanish history. Will we ever see a comparable film about the life of Velazquez, another of the many immortal masters of art this great nation has produced?
8 Reviews
Unsuccessful film is well acted by Mel Ferrer in title role...
Doylenf7 January 2008
EL GRECO tackles the life of the famous artist who spent most of his life in Toledo, Spain and whose paintings are marked by his unique style of portraying church figures and the common man. But this film is a weak attempt that lacks substance in telling the painter's story which, for dramatic conflict, involves his brush with the Spanish Inquisition and eventual dismissal of the charges, which changed his life forever.
MEL FERRER is admirable in the title role, the costumes and sets filmed in Madrid are sumptuous and some of the supporting roles are well played, especially RENZO GIOVAMPIETRO as Brother Felix (who sounds an awful lot like Leo Genn in "Quo Vadis"). But the final scenes with Elk Greco immersing himself in the world of the common man and the insane, are a mishmash and end the film on a weak note. The choral work is effective but becomes almost too obtrusive before the film is over.
Hopefully, some day someone will do a film on "El Greco" that is as substantial as the earlier Hollywood film on "Rembrandt" and the Van Gough treatment in "Lust for Life". But EL GRECO is flawed by a weak script and slow pacing under the direction of Luciano Salce.
Not recommended.
MEL FERRER is admirable in the title role, the costumes and sets filmed in Madrid are sumptuous and some of the supporting roles are well played, especially RENZO GIOVAMPIETRO as Brother Felix (who sounds an awful lot like Leo Genn in "Quo Vadis"). But the final scenes with Elk Greco immersing himself in the world of the common man and the insane, are a mishmash and end the film on a weak note. The choral work is effective but becomes almost too obtrusive before the film is over.
Hopefully, some day someone will do a film on "El Greco" that is as substantial as the earlier Hollywood film on "Rembrandt" and the Van Gough treatment in "Lust for Life". But EL GRECO is flawed by a weak script and slow pacing under the direction of Luciano Salce.
Not recommended.
Domenico Theotocouplos 1541-1614 the Toledo Years
bkoganbing14 March 2016
A great deal of time before and after the years covered in this life of El Greco that a certain amount of context is lost. The film El Greco is about his art, but it's also about his life and his greatest love.
Mel Ferrer no doubt in the hopes that the film would lift him into the ranks of the Hollywood elite produced and starred in this film with a European cast. There are no other Americans in the film, but a few familiar faces from European productions. Most prominent will be Adolfo Celi who is the one who first brings El Greco to Spain on a commission to paint his daughter's portrait, the daughter played by Rosanna Schiaffino.
And Schiaffino becomes the great love of his life. But Spain was also home to that most repressive of religious institutions the Inquisition. Their penalties were most severe for deviancy from the Roman Catholic faith and in fact the Church in Rome was virtually a Spanish protectorate in the 16th century. A lot of people used the Inquisition to settle some personal scores. Institutions to preserve orthodoxy in any society usually sooner or later become instruments of repression and/or vengeance. And El Greco made a lot of enemies.
Fernando Rey plays Philip II of Spain, the most powerful man in Europe and the Americas as he colonized most of it while he was King. Such people as Raymond Massey and Montagu Love played him before, a great deal more fanatical than Rey is. But Rey does come across as a man with the burdens of the world on him and for the most part they really were. Ferrer is aiming for his royal patronage.
El Greco was born in Crete which was part of the Venetian city/state/republic and that brought him to Italy and then to Spain specifically Toledo. He lived a good deal longer than the action in this film. Ferrer gives a restrained and dignified performance, but the man who really could have done this role justice would have been Tyrone Power and he hadn't been available for 8 years.
El Greco the film is beautiful and dignified, but terribly slow moving. It never did for Mel Ferrer what he intended.
Mel Ferrer no doubt in the hopes that the film would lift him into the ranks of the Hollywood elite produced and starred in this film with a European cast. There are no other Americans in the film, but a few familiar faces from European productions. Most prominent will be Adolfo Celi who is the one who first brings El Greco to Spain on a commission to paint his daughter's portrait, the daughter played by Rosanna Schiaffino.
And Schiaffino becomes the great love of his life. But Spain was also home to that most repressive of religious institutions the Inquisition. Their penalties were most severe for deviancy from the Roman Catholic faith and in fact the Church in Rome was virtually a Spanish protectorate in the 16th century. A lot of people used the Inquisition to settle some personal scores. Institutions to preserve orthodoxy in any society usually sooner or later become instruments of repression and/or vengeance. And El Greco made a lot of enemies.
Fernando Rey plays Philip II of Spain, the most powerful man in Europe and the Americas as he colonized most of it while he was King. Such people as Raymond Massey and Montagu Love played him before, a great deal more fanatical than Rey is. But Rey does come across as a man with the burdens of the world on him and for the most part they really were. Ferrer is aiming for his royal patronage.
El Greco was born in Crete which was part of the Venetian city/state/republic and that brought him to Italy and then to Spain specifically Toledo. He lived a good deal longer than the action in this film. Ferrer gives a restrained and dignified performance, but the man who really could have done this role justice would have been Tyrone Power and he hadn't been available for 8 years.
El Greco the film is beautiful and dignified, but terribly slow moving. It never did for Mel Ferrer what he intended.
Italy/Spain co-production concerning the prestigious painter of the Spanish Renaissance , Domenikos Theotokopoulus , El Greco .
ma-cortes23 March 2021
Decent rendition about the famous painter of the Spanish Renaissance focusing on his stay in Toledo and known popularly to the world as el Greco . Domenikos, El Greco , was born in Crete , which was at the time part of the Republic of Venice and the center of Post-Byzantine art . His works painted in Italy were influenced by the Venetian Renaissance style of the period . In 1570 he moved to Rome , where he opened a worshop and executed a series of works . During his stay in Italy , he enriched his style with elements of Mannerism and of the Venetian Renaissance and influenced by Tintoretto . In 1570 , he moved to Toledo, Spain , to paint an altarpiece and where he lived and worked until his death . In Toledo , El Greco received several major commissions and produced his best-known paintings . There Domenikos (Mel Ferrer who produced too) fell in love for a gorgeus local woman (gorgeous Rosanna Schiaffino) , daughter of a wealthy aristocrat (Adolfo Celi) the trouble ensues . El Greco's dramatic and expressionist style was met with puzzlement by his contemporaries but found appreciation in the 20th Century . El Greco is regarded as a precursor of both Expressionism and Cubism, while his works and personality were a source of inspiration for poeta and writers . Can Darkness win Light ? . Can the Darkness codemn the Light ?. The man..the age..both on fire..now on film ! The lavish courts of Spain .. the savage torture of the inquisition .. the treachery of love.. all storming across the canvas of the man called El Greco.
This costumer partially based on facts , but predominantes the slow-moving melodrama and relying heavily on the love story between Domenikos : Mel Ferrer and Jerónima de las Cuevas : Rosanna Schiaffino . These two actors are well accompanied by a fine support cast , including Italian secondaries : Adolfo Celi , Mario Feliciani , Gabriella Giorgelli, Franco Giacobini , as well as Spanish players : Rafael Rivelles , Angel Aranda , Victor Israel and the great Fernando Rey as King Felipe II. It results to be an enjoyable historical film about an uncompromising artist Domenikos Theotokopoulos , set in the 16th Century , regarding his stay in Toledo , here is confronted by his greatest adversary, the Holy Inquisition . This is a moving biography of the notorious painter , his hardship way , including fencing , trial before Inquisition , as well as romance . Never backing down in his fight with the establishments of his day El Greco's story is one of unusual love , heroism, treason and the power of one Man and his creative consciousness to stand out and overcome vulgarity and ignorance, being a real inspiration which lives on to this day . The motion picture with special mention for sensitive musical score by Ennio Morricone , evocative set design by Dante Ferretti and brilliant cinematography by Barboni , being professionally directed by Luciano Salce . He shot with a pervasive melancholy that does for slow drama and showing colourfully the Greco's wonderful paintings .
This costumer partially based on facts , but predominantes the slow-moving melodrama and relying heavily on the love story between Domenikos : Mel Ferrer and Jerónima de las Cuevas : Rosanna Schiaffino . These two actors are well accompanied by a fine support cast , including Italian secondaries : Adolfo Celi , Mario Feliciani , Gabriella Giorgelli, Franco Giacobini , as well as Spanish players : Rafael Rivelles , Angel Aranda , Victor Israel and the great Fernando Rey as King Felipe II. It results to be an enjoyable historical film about an uncompromising artist Domenikos Theotokopoulos , set in the 16th Century , regarding his stay in Toledo , here is confronted by his greatest adversary, the Holy Inquisition . This is a moving biography of the notorious painter , his hardship way , including fencing , trial before Inquisition , as well as romance . Never backing down in his fight with the establishments of his day El Greco's story is one of unusual love , heroism, treason and the power of one Man and his creative consciousness to stand out and overcome vulgarity and ignorance, being a real inspiration which lives on to this day . The motion picture with special mention for sensitive musical score by Ennio Morricone , evocative set design by Dante Ferretti and brilliant cinematography by Barboni , being professionally directed by Luciano Salce . He shot with a pervasive melancholy that does for slow drama and showing colourfully the Greco's wonderful paintings .
More agony from the church and ecstasy from the art.
mark.waltz8 March 2022
Warning: Spoilers
Obviously inspired by the success of the 1965 Epic 'The Agony and the Ecstasy" about the creation of the Sistene Chapel's amazing artwork, this film starring Mel Ferrer as the title character, Domenico Teotocopulo, deals with the church's attempts to control his work as well as the way he questions done of the methods of the church, being accused of heresy and put on trial. A romance with the beautiful
Rosanna Schiaffino creates further controversy as she is a Spanish noblewoman and he is merely working class. Adolfo Celi, as her father, is initially his mentor, but of course romancing a wealthy man's daughter is against principal in this hypocritical era.
Colorful but often slow, this has beautiful photography and location footage, andwhile Ferrer is the only American in the cast, this is obviously influenced by the great religious ethics of the 1950's and early 60's. There are some subplots involving hints of witchcraft from within the church's hierarchy, a very scary element (involving a spell containing toad's blood) that gives an interesting perspective on the ratio between good and evil. Ferrer is very sincere in his performance and fortunately underplays while he could have easily overemoted. This film comes rather late in the religious epic era, and even with films like "A Man For All Seasons" and "The Lion in Winter" to come, this seems a bit old fashioned. One scene involving a sword fight what hint at the fact that this was a late peplum film, but the religious epic aspect eliminates that. So you've got two fading genres within one film which is perhaps why it didn't do better.
Colorful but often slow, this has beautiful photography and location footage, andwhile Ferrer is the only American in the cast, this is obviously influenced by the great religious ethics of the 1950's and early 60's. There are some subplots involving hints of witchcraft from within the church's hierarchy, a very scary element (involving a spell containing toad's blood) that gives an interesting perspective on the ratio between good and evil. Ferrer is very sincere in his performance and fortunately underplays while he could have easily overemoted. This film comes rather late in the religious epic era, and even with films like "A Man For All Seasons" and "The Lion in Winter" to come, this seems a bit old fashioned. One scene involving a sword fight what hint at the fact that this was a late peplum film, but the religious epic aspect eliminates that. So you've got two fading genres within one film which is perhaps why it didn't do better.
A Must-See Movie! Try to track it down!
JohnHowardReid16 June 2017
Warning: Spoilers
Copyright 31 December 1965 by Produzioni Artistiche Internationale/Arco Film (Rome)/Les Films du Siecle (Paris). An Italian/French co-production, filmed in Toledo, Spain. Released through 20th Century-Fox Film Corp. New York opening at the 68th Street Playhouse: 23 May 1967. U.S. release: 26 October 1966. U.K. release: floating from January 1967. Sydney opening at the Town. 8,492 feet. 94 minutes.
SYNOPSIS: 1576: Arriving in Toledo from Italy to execute an altarpiece, the painter Domenico Theotocopulos, known as El Greco, soon finds fame and fortune, winning the favor not only of the Church but of the King.
COMMENT: Easily the best film biography of a painter since "Rembrandt". Admittedly, the scriptwriters were able to give themselves a freer hand than usual by our almost complete lack of knowledge of the painter's life. But those details we do know are faithfully interpreted in the film. And the make-up is so good that some of the portraits seem to have stepped alive from El Greco's canvasses. The most striking example, of course, is that of Cardinal Nino de Guevara played by Mario Feliciani. Viewed from every perspective, the make-up is absolutely faultless. And there are others: the portraits in the "Burial of Count Orgaz" seem to be reflected on the screen, the resemblance of Brother Felix is more than passable; and Fernando Rey's Philip II is an astonishing likeness.
But even more striking than these character impositions are the fantastically exquisite costumes and the incredibly dazzling sets. Director Salce has a fine eye for striking pictorial compositions. He's one of the few directors who used the CinemaScope screen creatively and with imaginative artistry. Who could forget El Greco's spacious studio, littered with all the wondrous impedimenta of his craft including finished and nascent masterpieces lying higgledy-piggledy in odd corners among all sorts of odds and ends?
Other marvelous images: the staggeringly baroque ornamentation of the cathedral as the camera tracks unceasingly up from the high altar over hundreds and hundreds of superbly carved bas-reliefs, their exquisite detail invisible to the congregation below; the stark, white-washed walls of the inquisitorial hall thrown into dramatic contrast with lines of black-robed and hooded prosecutors.
All these so real yet so exotic images are superbly captured through the painstaking magic of ace color cinematographer Leonida Barboni. Rarely has the capacity of the wide CinemaScope screen been used to such advantage or filled with such harmonious compositions.
Most of the actors are Italian, but their dubbing has been much better performed than usual, under the guidance of dialogue director John Francis Lane. Leo Genn, who dubs the voice of Brother Felix, is outstanding. Mel Ferrer, who appears a little ill at ease in the opening moments, warms to the part most adeptly as the plot progresses. In fact this role is probably his best ever.
Technical credits are a tribute to Ferrer's efforts behind the camera. Ennio Morriconi — yet to make his reputation with the Dollar westerns — has contributed a richly atmospheric score, whilst the mysterious Fred Burnley's film editing is admirably swift and fast- paced. (Not exactly a name to conjure with, Burnley's other films are a nondescript bunch including Tarzan's Three Challenges, Disk-O- Tek Holiday and The Girl Getters).
Although the movie obviously cost millions to make — and it's all money most intelligently and creatively spent — "El Greco" was not a resounding box-office success. For one thing, the personality of the historical El Greco is too faithfully portrayed to be appreciated by a general audience. A moody and temperamental man, given to sudden emotional outbursts, but mostly eating humble pie and currying favor with the nobility, always deferring to their suggestions; and painting, for the most part, within rigid ecclesiastical rules. His character is by no means a wholly sympathetic one with which the audience can identify. And the same applies to all the other characters. Even the comic servant is revealed as a despicable coward. And the story itself, with its ghastly conclusion, is scarcely one to be endorsed by a mass audience. It is sad to think that the price of artistic integrity is mass audience alienation, but there it is. We may have to wait many years for another biography of its worth.
SYNOPSIS: 1576: Arriving in Toledo from Italy to execute an altarpiece, the painter Domenico Theotocopulos, known as El Greco, soon finds fame and fortune, winning the favor not only of the Church but of the King.
COMMENT: Easily the best film biography of a painter since "Rembrandt". Admittedly, the scriptwriters were able to give themselves a freer hand than usual by our almost complete lack of knowledge of the painter's life. But those details we do know are faithfully interpreted in the film. And the make-up is so good that some of the portraits seem to have stepped alive from El Greco's canvasses. The most striking example, of course, is that of Cardinal Nino de Guevara played by Mario Feliciani. Viewed from every perspective, the make-up is absolutely faultless. And there are others: the portraits in the "Burial of Count Orgaz" seem to be reflected on the screen, the resemblance of Brother Felix is more than passable; and Fernando Rey's Philip II is an astonishing likeness.
But even more striking than these character impositions are the fantastically exquisite costumes and the incredibly dazzling sets. Director Salce has a fine eye for striking pictorial compositions. He's one of the few directors who used the CinemaScope screen creatively and with imaginative artistry. Who could forget El Greco's spacious studio, littered with all the wondrous impedimenta of his craft including finished and nascent masterpieces lying higgledy-piggledy in odd corners among all sorts of odds and ends?
Other marvelous images: the staggeringly baroque ornamentation of the cathedral as the camera tracks unceasingly up from the high altar over hundreds and hundreds of superbly carved bas-reliefs, their exquisite detail invisible to the congregation below; the stark, white-washed walls of the inquisitorial hall thrown into dramatic contrast with lines of black-robed and hooded prosecutors.
All these so real yet so exotic images are superbly captured through the painstaking magic of ace color cinematographer Leonida Barboni. Rarely has the capacity of the wide CinemaScope screen been used to such advantage or filled with such harmonious compositions.
Most of the actors are Italian, but their dubbing has been much better performed than usual, under the guidance of dialogue director John Francis Lane. Leo Genn, who dubs the voice of Brother Felix, is outstanding. Mel Ferrer, who appears a little ill at ease in the opening moments, warms to the part most adeptly as the plot progresses. In fact this role is probably his best ever.
Technical credits are a tribute to Ferrer's efforts behind the camera. Ennio Morriconi — yet to make his reputation with the Dollar westerns — has contributed a richly atmospheric score, whilst the mysterious Fred Burnley's film editing is admirably swift and fast- paced. (Not exactly a name to conjure with, Burnley's other films are a nondescript bunch including Tarzan's Three Challenges, Disk-O- Tek Holiday and The Girl Getters).
Although the movie obviously cost millions to make — and it's all money most intelligently and creatively spent — "El Greco" was not a resounding box-office success. For one thing, the personality of the historical El Greco is too faithfully portrayed to be appreciated by a general audience. A moody and temperamental man, given to sudden emotional outbursts, but mostly eating humble pie and currying favor with the nobility, always deferring to their suggestions; and painting, for the most part, within rigid ecclesiastical rules. His character is by no means a wholly sympathetic one with which the audience can identify. And the same applies to all the other characters. Even the comic servant is revealed as a despicable coward. And the story itself, with its ghastly conclusion, is scarcely one to be endorsed by a mass audience. It is sad to think that the price of artistic integrity is mass audience alienation, but there it is. We may have to wait many years for another biography of its worth.
Form of fado
Vincentiu19 May 2010
About an artist. And about a slice of Spain history. A love story and definition of art against prejudices. In same time,delicate description of stranger condition. A Hollywood production, with same recipes of "ad usum delphini" history, glamor and unhappy love, with a magnificent Mell Ferrer and sweet colors. Seed of nostalgia, chair for rediscover of past, few flavor of childhood, with great heroes and nice adventures, "El Greco" is form of a fado. Portrait of an era, circle of magic gestures and hope, victory of a not-yet born Don Quijote. It is not a masterpiece. But it is more that. An escape. And lucky coin. Window. To a world who believes in everyone.
beautiful
Kirpianuscus26 September 2017
for reflect, "ad usum Delphini", a period, a life and an art. for the mix of sadness and romanticism. for the work of Mell Ferrer. without be a great film, giving the impression to be part of the so many frescoes of the Hollywood from the same period, it is nice and seductive and noble in its generous message about compromises, glory, politic and Church. and this represents a precious virtue for define it as an oasis. for atmosphere and for the grace of details. and, sure, for something special. like an old scent . so, a beautiful film.
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