Dangerous Beauty (1998)
Director: Marshall Herskovitz Cast: Catherine McCormack, Rufus Sewell, Jacqueline Bisset, Oliver Platt, Moira Kelly, Fred Ward Screenplay: Jeannine Dominy Producers: Sarah Caplan, Marshall Herskovitz, Arnon Milchan Runtime: 111 min. US Distribution: Warner Bros. Rated R: Sex, nudity, language
By Nathaniel R. Atcheson (nate@pyramid.net)
Time and time again, we see period films that revolve around the primitive idea of arranged or forced marriages. We learn about and feel sympathy for the peasant boy who can't marry the rich heiress, whom he loves, because of his lower placement in the caste system (such as in the excellent Washington Square); and, sometimes, it's the woman unable to marry a man of higher class. This situation is familiar, and often works as a plot device, but there has to be a spin somewhere. Dangerous Beauty, which tells the story of a young woman in 1500s Venice, is a film that begins with this premise. What makes the movie interesting is her method of avoiding the problem: she becomes a prostitute.
Of course, she's not an average prostitute: she's a courtesan--an educated, intelligent, and undeniably sexy woman who makes men feel important in numerous ways, and gets paid for it. The woman's name is Veronica Franco (Catherine McCormack), and, upon falling in love with a young senator named Marco Venier (Rufus Sewell), is made a courtesan by her mother (Jacqueline Bisset). Becoming a courtesan doesn't change Veronica's social class, but, interestingly, it makes an affair with Marco easier, despite his marriage to a cold and quiet woman.
Conflict arises mainly towards the end, when the Holy Inquisition assumes control of Venice during a plague which kills thousands of people. Believed to be spreading the disease through witchcraft, Veronica is put on trial for her apparent crimes against God.
Dangerous Beauty is a lot of things: it's a love story about two well-developed and well-acted characters; it's a period film rich in detail and atmosphere; and it's a political statement of the status of women in the 1500s. All of these elements are ultimately successful in various ways, and this is due, in part, to the steady direction by Marshall Herskovitz, and the sharp script by Jeannine Dominy (adapted from the factual novel The Honest Courtesan by Margaret Rosenthal). It's remarkable, really, that the film manages to develop each of these elements while still proving lively entertainment.
It's liveliness often springs from McCormack's energetic and convincing performance. Last seen (and underused) in Braveheart, McCormack effortlessly proves herself as a leading actress, and I find it a marvel that this huge, sumptuous role was not given to an actress who has "proven" herself (not just in talent, but in box-office draw, for I am speaking of a Warner Bros. film here). McCormack, aside from radiating a physical beauty that does, in fact, feel dangerous (in a good way), she wistfully slides through this film, never hitting a foul note. Her performance is both strong and subtle, and developed fully. We get a feel for her innocence when she is a maid in the beginning of the film, but we can also see her strength in her eyes. Later, as in the satisfying conclusion, she need not raise her voice to prove her power: her calculated words are enough.
Matching McCormack's talent is Rufus Sewell (Dark City, Hamlet), an intense actor who gives this rich senator life and verve. Sewell, like McCormack, attests with this role his versatility and vigor, and shows once again that he is capable of holding an entire film with his presence. The scenes between the two leads--particularly the love scenes--are electric: their dialogue flows smoothly, and they compliment each other physically. Also good are the supporting performers, including Jacqueline Bisset and Oliver Platt.
The tone of Dangerous Beauty is complete, and always pleasing. The primary colors used are gold and light browns, and each scene seems to be shot with filters that soften the image. The sets and costumes, too, are exceptional and noticeable, and all of this creates a film that never falters with its mood. The uniqueness of Venice is done justice here.
Perhaps most interesting (and unexpected) about the film is the statement it successfully conveys. Here is a woman who finds her own salvation in going against the typical route of women (which, normally, leads to being a housewife and a mother to many children). She doesn't just reject this monotony, however--she spits in its face by becoming something that most "ladies" find degrading and limiting. Veronica loves what she does, and is happy because of it. This is not a feminist film, mind you--there is no male-bashing here. What there is, however, is a detailed illustration of how much men desire women, and to what lengths they will go to have what they need.
Like all films, Dangerous Beauty isn't perfect. It is fairly predictable in its plotting, and the climax, though satisfying, falls prey to some seriously heavy-handed emotions. But these are minor quibbles: Dangerous Beauty is engrossing from start to finish. I admire films that are complete in their endeavors, and a film that successfully develops multiple themes while actually making us care about the characters will forever be welcome. Dangerous Beauty also supplies a little history lesson about the importance of courtesans and the role of women in this society. And while I am often skeptical about history lessons learned in films, it's nice to know that a film can, on occasion, provide more than simple entertainment.
*** out of **** (7/10, B)
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Nathaniel R. Atcheson
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