LOVE IS THE DEVIL A film review by Steve Rhodes Copyright 1998 Steve Rhodes RATING (0 TO ****): *
The marvelous British actor Derek Jacobi stars in writer and director John Maybury's LOVE IS THE DEVIL about the popular modern artist Francis Bacon. As always, Jacobi's acting is impeccable, but the movie tries hard and succeeds at being unentertaining and opaque.
The movie convincingly argues that Francis, played by Jacobi, was a completely despicable and vain individual, but it never provides any insight into his work or any motivation for his attitude. When interviewed by a fawning talk show host, Francis calls his style "chance brushstrokes."
Starting with a burglary of Francis's flat, the film uses loud sound effects that sound like they were lifted from a cheap horror movie. The camera shots are heavy on the avant-garde angles -- lots of wide-angle close-ups and distorted shots filmed through colored-glass reflections. The director is much more interested in filmmaking style than in the substance of the story with the result being a sterile examination of a lonely and vain man.
Daniel Craig, in a lifeless performance, plays the burglar and boxer, George Dyer. When Francis lays eyes on him after the break-in, Francis promises not to call the police if he'll stay for sex. He stays for the entire movie but never respects the man with whom he shares a bed. He thinks that Francis's paintings have "no bloody use," and the movie presents no counterargument.
Writer Maybury barely outlines Francis's character, and George and the rest of the supporting cast remain a complete enigma. We learn little of George other than Francis's reason for liking him -- George's "amorality and innocence."
Francis's love of sadomasochism is shown early and often. "Boxing is such a marvelous aperitif for sex," he reflects to George on the way to watch a boxing match. As the fighter's head is sliced open with a heavy blow, the camera cuts to a gleeful Francis whose own head is soaked by the flying blood. Francis appears to be in complete ecstasy.
Another of Francis's favorite activities is viewing old movies of atrocities. As the carnage mounts, we witness an orgasmically happy Francis in the audience.
In a film that tries obsessively to shock, one dream sequence portrays a family in a car accident. Francis's mind slowly examines every bloody limb of the mother, the father, and the boy.
Sometimes the script throws us tidbits of Francis's wisdom which illuminate little while merely sounding insightful. ("I'm optimistic by nature. I'm optimistic about nothing." "Loneliness is my only true companion.")
We learn more details about Francis's makeup techniques than about the man himself. He prefers shoe polish for his hair and sink cleaning powder for his teeth.
Full of metaphorical interpretations, the film's best scene occurs late one night when George has to get up to go to the bathroom. Mistaking Francis's picture of a toilet for the genuine article, he urinates on it and then crawls back into bed contentedly.
Like a parody of a bad art house movie, LOVE IS THE DEVIL has horrid characters filmed bizarrely and confusingly by a director who is much more interested in technique than storytelling. By the end, the audience hasn't learned any more than it could have in a three-minute sketch.
LOVE IS THE DEVIL runs 1:30. The film is not rated but should be considered NC-17 for violence, profanity, graphic sex, nudity and sadomasochism and is unacceptable for most teenagers.
Email: Steve.Rhodes@InternetReviews.com Web: www.InternetReviews.com
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