I, Don Giovanni Page #3

Synopsis: A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.
Genre: Drama, History, Music
Director(s): Carlos Saura
Production: Edelweiss Production
  3 nominations.
 
IMDB:
7.0
Year:
2009
127 min
24 Views


But critical and a madman

That would be even worse

That would be even worse

A titbit of a lover

All of a sudden found

To discover that he's mad

Weighs heavy on the heart

This...

is downright rudeness!

And you, Maestro Salieri,

how can you tolerate such rudeness

without intervening?

Please, Madam Cavalieri,

there's no need to get angry.

I want him jocular and lively

He must jest, laugh, dance and sing

With a quip or story ready

Gallant manners, gay words

and of witty disposition

And if he must go mad

It must be mad with love

And if he must go mad

It must be mad with love

But critical...

Critical and a madman...

Madwoman

Well, a brief pause for everyone.

This is downright rudeness!

Is this how Vienna treats artists?

Is this how fine singing

is extolled here?

- Listen, my love...

- Don't say a word.

You wanted to humiliate me,

putting that hussy in your opera.

Maestro Salieri,

I am Lorenzo Da Ponte,

I've just arrived

and I wanted to ask you...

Wait for me outside please.

- I can't attend to you now.

- Giacomo Casanova sent me.

Excuse me

if I appeared unfriendly.

It hasn't been

a particularly easy day.

Your Majesty!

Your visit is a great honour.

The honour is mine, you know

how your work stirs me.

But perhaps I chose a bad time.

You told me there were

rehearsals today.

Your Excellency,

the Count is correct.

But we were just taking

a brief pause.

- We'll start again immediately.

- Do not trouble yourself, I can wait.

Even like this,

there's much to admire.

And how is our second Grace,

Madam Ferrarese?

Your idea to reunite

Madams Cavalieri and Ferrarese

in my new opera

is proving to be most excellent.

In fact, I'd even say wonderful!

Your Majesty, may I present

Lorenzo Da Ponte,

a dear friend and talented poet

just arrived from Venice.

It is a great joy

to find myself in the presence of

Europe's wisest

and most enlightened monarch.

You are respected and admired

in Venice.

- So, you are a poet.

- Yes, Your Majesty.

And also a priest,

libertine and troublemaker.

A reputation that does not

befit me, Sire.

Mr Da Ponte has left Venice

and is looking for employment.

Perhaps Your Majesty

can do something for him.

Of course.

Vienna needs new poets

with a reformist impulse,

especially in opera.

Why not entrust him with the libretto

of your next work?

Forgive me, but I'm afraid

I wouldn't be capable.

I've never written opera lyrics.

Lack of experience

is not a serious hindrance.

On the contrary,

we need new talent, new ideas

to renew our opera.

And Maestro Salieri

is in full agreement.

We'll have fresh inspiration.

May I remind you

that Maestro Salieri is already

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Carlos Saura

Carlos Saura Atarés (born 4 January 1932) is a Spanish film director, photographer and writer. His name, with those of Luis Buñuel and Pedro Almodóvar, forms a triad of Spain’s most renowned filmmakers. He has a long and prolific career that spans over half a century. A great numbers of his films have won many international awards. Saura began his career in 1955 making documentaries shorts. He quickly gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura quickly switched to films encoded with metaphors and symbolisms in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film La Caza won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions. By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for La Prima Angélica (1973) and Cría Cuervos (1975) in Cannes; and an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Cumple 100 Años. In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Bodas de Sangre, Carmen and El Amor Brujo. He continued to appear in worldwide competitions earning numerous awards, and received another two Academy Award for Best Foreign Language Film nominations, for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present and memory with hallucination. In the last two decades, Saura has concentrated on works uniting music, dance and images. more…

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Submitted on August 05, 2018

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