User Reviews

Does a corpus of aesthetically acceptable decadent cinema, or a cinema of beauty in abundance and sharp human observation—movies of rich human and psychological content that take a decided aestheticism—informed stance, exist? At a first sight, the answer is far from obvious.

There are a number of decadent wanna—be directors, yet obviously too uncultured and incompetent to may raise any significant claim. The genre requires subtlety, sharpness, intelligence, taste, finesse, vigor.

The primary thing to be acknowledged is that DIVINA … is not a _bibelot or a highly decorated , ornate oddity ,but a true strong insightful drama.

Take a look, if you please, at Wikipedia's article about master Stamp—there, DIVINA CREATURA is not even mentioned! Obviously, the authors (whom I most wrongly presumed to take some degree of interest into Stamp's career …) of that article found this film to be negligible—after all, it's only Stamp's leading role in the most beautiful movie ever! I assumed a Stamp fan ought to be particularly sensitive about each and every Stamp leading role—I presume they're not so many, after all ….

DIVINA CREATURA is a cherished, lovable wonder of emotional richness; it's as well a commending film, deeply respectable for its craftsmanship and competence. Style and content, to use this worn—out dichotomy, are equally commending and important and of vigorous beauty.

Movies being so expensive an amusement or creation, it seems unlikely that a man of professed decadent and individualistic profile such as Griffi would find a way to work in this unaffordable branch where almost every effort must become a collective one. (Even as an art, cinema is not for the individualists, and Griffi was resolutely one. There are, of course, Welles, Hitchcock, Tarkovsky, Bergman, Antonioni, etc., also the great independents and experimenters—yet, Griffis' case is a peculiar and highly instructive one. In the sense that his independent credo demanded the considerable budgets of the financially successful independents—without having their financial success. Look at DIVINA CREATURA—it boasts in a marvelous cast—three great actors—Stamp, Mme. Antonelli and Mastroianni! And then, he was a resolute decadent, leaving no room for the partial comprehension and misunderstandings that sometimes manage to bring some fame to other independents. He is the impeccable cinematographic equivalent of the most uncompromising literary _decadentism—and he managed to get his movies done!) His is the decadent-ism of an insider ,like that of Visconti, and unlike the fake _decadentism of more pedestrian or exploitative directors. Griffi gives the decadent-ism its purest expression, and makes it a joy to speak about such things ….

Yet, decadent is a way of speaking; DIVINA amazes by its assured, virile and masterful tone and diction. As art, as craft, it is very sane and strong. Also, its content ,its insight are imposing. If we are to continue using the D word, then Griffi it's decadent the way the greatest, from Balzac and Lampedusa to Visconti, were. DIVINA … is not morally corrupt; on the contrary, it's vigorous and insightful and detached. The emotional richness that I have indicated is very appropriately served by this detached attitude of Griffi.

It takes many things to be imposing; like the best directors in their best hours, Griffi gathered them all. His style is sharp, cold and inspired, if these can be conceived together. The result is poetry. Griffi's style enhances the valences of his content. Using an uncompromisingly ironic and detached style, of cold observation, the emotional richness is much enhanced.

Back to the main actors—Stamp's role is one of surgical, cold precision; Mastroianni gives truly his best here, in a quite large and substantial part; while Mme. Laura Antonelli proves to be a first—class actress. DIVINA CREATURA is a hallmark of uncompromising aestheticism ,where content more than equals (and fits ) the style; it is not a vain exercise, it is poetry. Visually rich, it's also rich psychologically, analytically, emotionally. And Griffi uses a nonchalance that serves the movie. The stylistic results are delightful—the movie is suspenseful, amusing, intelligent, relentlessly interesting. The point is that the man has the heart, while the woman has the body (the same in Le Jour Se Lève or in Gegen Die Wand).

DIVINA … is the opposite of what is called, condescendingly, a small movie; on the contrary, it is a large, imposing, awe—inspiring one. It is a notable experience. As a side effect, it's also a needed antidote to the prevalence of movies about amorphous people.

DIVINA …,by its discrete subtlety and sure perspicacity, is a reminder that the European cinema was a most distinct world. Be it that we may serve at least by word this legacy.

My beginning as an Europhile and Anglophile were when, at 18, I realized I could resume the best of the world's cinema in only three names (a Swedish, a Spanish and a Japanese one). Later, I indulged in the ingenuity of some snappy Americanophiles, yet without a true inner assent. In the European cinema—and mostly in that of the past—I have all that I need, from Tarkovski to the genre movies of the '50s—'80s.

DIVINA … is a movie of infinite beauty. Griffi was a director of intelligence, insight and depth.