The fantastic light that fills the film. Happy Renoir at the end of his life paints happy pictures. If people held hands instead of guns, the world would be different. Wars would finally stop.
Manor outside town. Terrace overlooking the sea. Beautiful nature. Shadows, wind in the trees, hot summer, cool stream... Everything is directly permeated with sun and light. Like paintings and Renoir, warm and soft in colors.
The film is slow, measured, like the very life of the inhabitants of the estate. You look at the film as a picture of an artist, and you want to look deeper to notice the details and feel the nuances.
The music is sad, causing slight alarm, because somewhere else there is the First World War. But here is an oasis of peace and beauty. Although ... quietly boil and gurgle everyday carnal passions ... Renoir's last love was Renoir's first love. The actress for the role of Dede successfully selected. Really beautiful and creates the image of an ambitious, somewhat bitchy girl.
At the end of the film, it was a joy to learn that Jean had returned from the war and that everything was going well. He kept his promise to the girl. Very atmospheric film. You can feel the warmth of the sun.
I will not paint death, war and disease. This and without me a lot in the world
Painting "Renoir". The Last Love 2012 (Renoir) tells about the end of the life of the great Impressionist, who lived with his family on the Cote d'Azur, in the estate of les Collettes from 1907 until his death (1919).
So, 1915. The artist is already over 70, and he is seriously ill, almost cannot walk and suffers from sharp attacks of arthritis. Michele Bouquet is unusually similar in appearance to his character and, in my opinion, perfectly played this complex nature. What is Renoir's world? The world of an old man living out his last days, helpless, pathetic and detached from the world? His world is bright colors, it is life, the struggle for every day, it is the sun and olive trees, the wind from the sea, the blue sky, it is passion and happiness, admiration for a woman, admiration for the beauty and juiciness of nature! As Renoir says in the film, “I will not paint death, war and disease.” There is much in the world without me.” And really: there is the first world war, on the road you can see cars with wounded, the beloved son of the artist returns from the front forever lame, but in the estate all this disappears, goes to the background before the unshakable colorful life of the forest, stream, sea and one woman.
She was the artist’s last model, the last spark, the fire of inspiration that made him create and realize his own truth: art is most precious. One can disagree as much as one wants with Renoir’s views: with his subordination to circumstances, with his closing his eyes to the suffering of mankind, with his sacrifice of his own health for the sake of painting, with his inability to express feelings in words. But it will be in vain, because if he were not like this, his paintings would not be such, immersing them in their childish, carefree world of pleasure and admiration for the beautiful!
The young red-haired model with two names (Andre and Catherine) fell in love not only with old Renoir, but also with his son Jean, who returned for treatment after the war. His love is the boy’s love, sincere, pure and still strong, which later changed his whole life (submitting to the dream of his beloved, and in the future his wife, he devoted himself to cinema, becoming the greatest director). Vincent Rothier is charming in the role of a grown-up boy, hesitant, sometimes timid, not yet determined who he is, but living in harmony with his heart. In some scenes, he resembles a girl with his delicate facial features, neatly outlined nose, short stature.
But the young model Andre is a symbol of a woman, a symbol of the lush life of nature, with her bright red hair, a seductive smile, love for red vegetables and fruits, warmth, even unceremoniousness and self-confidence. She can not be called a pleasant heroine, but you feel that it is difficult not to kneel before her vitality and passion. And in fact, Andre is the only one who animates everyone around: servants who despise her pride a little, and Renoir who admires her Titian forms and hair, and Jean who needs her determination.
The movie "Renoir." Last love for me is beautiful first of all visually: the colors of the picture, colorful accents on bright pure tones - all this so resembles the paintings of the artist himself, as if it animates them. Sometimes you get the feeling that you are looking at the process of creating masterpieces long known to you from behind the scenes, peeking at how each stroke falls. It is worth mentioning the costumes for which the picture received the Cesar Prize. First of all, these are Andre’s clothes: a red robe, an orange skirt, white blouses, straw hats with flowers – the quintessence of all Renoir’s portraits.
It is difficult for me to evaluate camera work, but I try to force myself to pay attention to it. For example, the final scene is simple and brilliant: the maid in the garden teaches the child to walk, and Auguste Renoir watches them from the window, sitting in a wheelchair. We can see his brooding face. The end. Thus the world is cyclical: death begets life; Renoir’s theory of the kingdom and the victory of life is correct.
Of course, there are obvious inefficiencies in the plot, as if some of the characters and their problems were simply forgotten: the mutual misunderstanding of the old man and his youngest son Coco, the relationship between the caring Gabriel and the elderly painter, the origin of Andre, etc. All these white spots spoil the diversity of the film, but do not destroy it, because in films about painters, as well as in their lives, words are insignificant before the brush, before the visual image, because only with it they know how to express their love.
9 out of 10
Nemirovich once wrote about Chekhov: “The art of an artist who loved life the more he had less right to it because of his illness.” For me, "Renoir" is about this - about the love of life that exceeds all possible reasons, reasons and reasons for not experiencing it. Pain, hellishly unbearable pain - one. War, meaningless and merciless, a peace mired in absurdity and absurdity - two. The wife's death is three. The sorrows and wounds of children are four. Old age, almost always changing novelty into habit, finally ...
But there is one point of contention. Would Renoir love life as he loved (living testimonies are his canvases) if he did not love it through art, through art, in him and for him? The simple life given to every human being? Would he love Andre the way he loved, not painting her, not turning her into art, but simply being her father-in-law in a complex and lonely family?
Art that transforms life into a beautiful, sublime and at the same time leads away from it (from its most painful sides, like inoculation of anesthesia to a patient with arthritis), how true is it?
Representatives of pure art (“art for art”) in the 19th century were scolded not so much for creative lies and escapism, even, as for demonstrative aesthetics, disdainful of the evil of the day for eternity, which supposedly only needs to breathe, live, create ... for the fact that in the rest – eternal and unsublime – it is afraid to get dirty. Yes, the muse of Renoir is not a Chumaza, antisocial, not charged with protest, her concern is to tremble, excite, blow secrets and aromas, stroke the warmth and softness of yellow-red colors, drink the sun and splash... Who is Andre's model for him? Well, of course, not an ambitious, slightly predatory, dissatisfied with life, acutely feeling her talentlessness actress, but a perfect flesh with a golden gun, a shell, a beautiful form of not so much a woman as life, the true essence of which is not war, not pain, not even reality, but indefinable, irresistible, soft, subtle, always new, fresh, joyful, pouring in all directions at once Light. Light poured in the world and captured by the free imagination of the artist. The fire of life, with which everything is set on fire like an incessant bush, everything that Renoir looks at with his old-fashioned gaze, whatever he strokes with his brush.
And all his paintings are about last love. But not Andre, not just her. And every single day, because it is (like the last) so beautiful!
P.S. Touch it with a brush... and paint over hell and pain.
The world will never stop making films about the great artists of all time, and this time in 2012 France released another film called Renoir. Last Love, directed by Gilles Bourdeaux. Did the life of Pierre Auguste alone paint this picture? Is it only about painting and love? Of course not. This film gathered a smooth interweaving of many characters and events of that time, 1915 of the First World War.
The film is almost two hours long and from the very beginning easily tells the story of a girl artist who came to the house of Pierre Auguste Renoir at the invitation of his wife to pose for the artist, to be a naked model for an old and sick master. And together with the appearance of red-haired charming girl Dede in the house comes revival, the artist, overcoming the pain continues to create. Only the boy Koko is his youngest son, mysteriously sullen and does not accept a new model, considering himself an orphan.
The first half of the film really does not burden the viewer, only pleases the eye with wonderful picturesque landscapes, a beautiful figure of a young girl. But from the whole series of realistic shots, a fragment falls out where Renoir sees his deceased wife, as if she were next to him and tells him how successfully she chose a model for her husband. But if the viewer did not know that the master remained a widower, he would not even understand what happened, because everything is shown so real that it is not even perceived as a vision or sleepy nonsense of the artist.
Interesting thoughts Renoir we learn from his dialogue with Dede about the profession.
- This is what you do with your own hands and it stays there forever.
In addition, the picture also demonstrates the technique of painting the artist, which is important for fans of his work.
The mood and general state of the film changes when Renoir's second son, Jean, returns from the front. From this moment, even the music in the film becomes disturbing and exciting, the colors and relationships between the characters thicken and the development of both family drama and personal in the soul of everyone begins. We can see more clearly the condition of Dede, Jean and Pierre. The first raging dream to become an actress, female narcissism and ambition, the second responsibility to colleagues and a sense of need during the war, while still falling in love with a brave beautiful model and concern for the family, the artist himself has thoughts only about painting, about his purpose, he is a sick old man and can not change someone's choice.
The relationship between man and woman in life and in art is a very significant philosophical line of the film, revealing both the side of jealousy and admiration, the history of the flesh and pure untouched beauty. Everything is fused together like brushstrokes on Renoir's canvases.
To the theme of the painting technique of the French artist, I want to highlight one interesting and memorable move in the cinematography of Li Pingbin. When Pierre Auguste himself said that the structure in a picture should create light and everything should flow into each other, Li Pingbin shows the viewer a canvas with soft graceful strokes, and then translates the camera to everything that happens behind the picture, but does not focus on this, but shows us a blurred reality consisting of colored spots, where the structure is painted only by light and nothing more. As if we see the world through the eyes of Renoir himself, this impression becomes even deeper, even brighter and more amazing.
In conclusion, I want to recall the theory of life followed by the great master – the theory of “congestion”, which dutifully moves along the river and does not try to control it. His son Jean called it cowardice, Renoir himself chose this way for himself the most faithful, the most true, because for him the main thing is to forever capture beauty with his own hands, no matter what. But what would you choose?
Once a stranger out of nowhere stepped over the threshold of the nursing home of the great artist Auguste Renoir. Red-haired, extraordinary, as if from another world, she did not change the life of the genius of impressionism, but only brought the necessary details, final touches, new shades. At the end of his life, Renoir was lucky enough to find his best model to dedicate to her, her hands, or rather to all mankind, the last paintings. Through unthinkable pain, overcoming himself, forced removal from the family in favor of art, he once again feels himself "... a traffic jam that carries along the waves ...", completely surrendering to their will. It is not the waves, not the wind, not the pier, from which it is worth pushing. Rather, the sky, the sun, the stars, which are not visible during the day, but which are clearly preserved in the artist’s mind by bright, prominent points in the dark sky. Perhaps He drew inspiration from Her, but rather She served only as a subject for adaptation to the canvas of already existing thoughts, ideas of the master. Without her, Renoir, perhaps, nothing would have happened, for she as an unforgettable, ambiguous, but fleeting phenomenon, as if a gift from over once was on the threshold of the house of outstanding Renoir, leaving a deep mark in their memory for many years.
The middle son of Auguste Renoir, Jean, returned wounded from the war, as well as his father falls in love with the amazing beauty. But this is another love, another story. With great respect for his father and his work, with a clear understanding of the greatness of his outstanding parent, Jean takes himself by the wayside. In vain, because he is the future great director, successfully out of the shadow of Auguste Renoir. Jean does not share his father’s worldview and self-determination like traffic jams on the waves of the ocean. He is not afraid to make decisions, he is not afraid to make choices. In many ways, this is the merit of the war, which the guy was at an extremely early age. Despite the firmness of character and views on life interpreted by the war, Jean does not cease to admire the beautiful, and most importantly, he knows how to look for and find this beautiful thing.
After the war, Jean finds himself in an improvised “island of pastel colors”, a world of full-bodied bathers and marvelous nature, where women literally carry him in their arms, and he himself is free to be free, like the wind. In this fabulous, beautiful universe, the elderly Auguste Renoir Jean and model Andre are mutually drawn to each other, as immigrants from another, external environment. It may resemble a love triangle, but it is too banal for the Renoirs. It's just a woman in a father and son's life that's needed, both like air. One to create, the other to live.
Painting, in principle, is given to understand not many, chosen. Unique connoisseurs of beauty, able to find and see what sometimes the master himself did not notice in his works. That's why the movie "Renoir." Last love is a monotonous, monotonous spectacle, some will seem stretched, boring, incomprehensible. Others will find in it a source of inspiration, thoughts, a “cabinet of rarities”, where not only philosophical works, but also real historical facts are hidden. Film as a means of drawing attention to the work and achievements of the Renoir family. It’s a really beautiful movie that should be enjoyed. Everything else will come by itself.
The slogan of the film, which I took as the title of my review, is literally a mirror that reflects the essence of the picture. It is all overflowing with a sea of luxurious color combinations, enclosed in bright shots. The musical accompaniment pleasantly frames the depicted events. An unusually sensual miracle was created by everyone who worked on this work of art (I am not afraid of such loud words, because I believe that they are deserved). “Renoir” turned out to be as life-affirming, light and natural as the paintings of Renoir himself. I would like to talk about naturalness separately. In fact, the complete lack of computer processing and special effects was very pleased. There are no whitewashed, perfectly smooth faces; mannequin-like human bodies; unpleasant digital pictures instead of natural landscapes. Just a celebration of nature's charm. Everything is imbued with the breath of life.
The plot also does not carry anything supernatural, exciting in itself. Just life. The life of an old artist who overcomes the pain brought by physical and spiritual pain, still tries to paint the beauty of the world. The pain goes away, but the beauty remains. It is amazing that in his old age he tried to improve - to learn new things, and did not lose the ability to see the world in a childlike sunny, exciting way. In addition to a segment of the life of Pierre Auguste Renoir, the viewer will be given to see the bits of the lives of his three sons, the two most significant models for him (at that time) and other people who came into contact with him then.
For me, this film is very valuable, inspiring. Partly because I knew very little about Renoir's fate, and I really love this kind of atmospheric cinema.
10 out of 10
Auguste Renoir is an iconic French artist, one of the main representatives of impressionism, who influenced both painting in general and specific people who later became no less important people of art. In short, he is a man who deserves not one, but a dozen films dedicated to his persona, who continues to inspire people almost a hundred years after his death. And in 2012, in the homeland of the artist was finally removed his biopic, reflecting the last years of his life.
To focus the attention of the audience on this time period is an understandable move by Gilles Bourdeaux, the director of the film “Renoir”. Last love. After all, it was then, in the so-called “red” period of his work, the artist finally fully received the deserved recognition of society. In addition, it was then that Renoir uttered the famous phrase “Pain passes, but beauty remains”, vividly conveying his physical and moral state at that time. Towards the end of his life, Renoir suffered from diseases that disfigured his hands and confined him to a wheelchair, but did not prevent him from continuing to create. It is this indestructible craving for beauty and love for art, in spite of everything, and became one of the main leitmotifs of the Last Love. Without crossing the frame, Bourdeaux conveys to the viewer the sufferings through which Renoir then passed, adding to their physical side also moral. Which, matching the title, and became the second component of the film, reflecting Renoir's relationship with the young model Andre. Brash and wayward, she quickly conquers the heart of the painter, as well as his son Jean, who returned from the front crippled. In fact, as can be inferred from the film’s multi-talented title, it is divided into two parts. In the first, the director focused on Renoir’s work, the process of creating his paintings and revealing the complex and tragic personality of the artist. The second focuses more on Andre and her passionate lover Jean, who has to hide their relationship from his father. For fans of Renoir himself, the first half will be more interesting, for those who do not have a craving for painting, the second is filmed. Deftly stacking both halves of the film into a melodramatic genre, Bourdeaux seems to leave no chance for skeptics, so much so, despite the formal separation, he has a holistic picture. The secret of this integrity is simple and made by the director already in the slogan of the film - "The subtlest feelings in bed tones." To shoot “Last Love” in the style, authentic handwriting of the maestro is the only right decision, which, to the delight of both fans of Renoir and ordinary viewers, was made by Bourdeaux. The film really looks like it screens not so much the life of Renoir, as his work, transferring to the screen subtle and airy style of the artist.
You draw me, draw me. At least to the pain, even to the blood.
In Russia quietly passed the film about the outstanding artist Pierre Auguste Renoir. Russian distributors from “Other cinema” considered that the brand name of the painter is not enough. And they arbitrarily added the phrase “Last Love” to it, apparently hoping to attract an audience to whom this name may not say anything. I don’t know how many of the nearly nineteen thousand people who came to see this film ended up in the cinema. I'd like to think a little. For this audience may feel deceived, as the “last love” on which so counted distributors, there is no mention. Well, except for the painting ...
What do I mean? The new generation does not tire of admiring its ignorance, and the heroine from the film “Stories”, in whose head the historical events of all times are mixed, no longer looks anecdotal. Real life sometimes leaves behind fiction. In the spring, a hit on the Internet was a conversation with the wife of one of our famous football players. She won some prestigious contest of erudite beauties of Russia, greatly surprised by the data on the hot trail of the interview. To the question of the journalist: who wrote the polonaise Oginsky? – she said that not in the subject. Just as not in the subject of who is the author of the "Griboyedov waltz"? I don’t know about the questions I’m asking.
I hope that the “Renoir” still went to the audience sufficiently advanced, which before the film was aware if not personal life, then at least the work of one of the pillars of impressionism. But the film’s personal life is the most interesting. Another thing is that films about famous historical characters have one small drawback: unlike fictional characters, with real ones, it is usually difficult for the viewer to identify themselves. Theoretically, of course, it is possible, but this is precisely the case with a weak knowledge of the subject. But the better you know the subject, the more critical and demanding you watch the movie, looking at what is happening from the outside. Here it will be even more appropriate to cite the example of books, the adaptations of which for the same reason are very zealous readers, all the time finding some inaccuracies or shortcomings in the screen embodiment.
I think that there will be a minimum of claims against the creators of Renoir, except from the artist’s biographers, whom, as I understand it, we have one or two and studied. The film localizes the events of the summer of 1915, when a red-haired model Andre appears in the house of a 74-year-old painter, who once in the past was “matched” by his late wife. Renoir, living in a dense environment of maids and young children, to the appearance of which he himself, judging by the conversations, had some relation, is not jokingly inspired by a girl with beautiful breasts and is taken obsessively to work. Despite the terrible progressive arthritis, which turned the artist’s hands into “chicken legs”, he cannot spend a day without an easel, thereby risking finally losing the ability to write. However, the mutilated joints of the hands do not prevent him from holding his hand firmly, and the limitation of fine motor skills in an unexpected way contributes to the renewal of style.
Girl on a bicycle in the first frame, emotional music by Alexander Depl... There was an illusion that I was watching The Dwarf's Daughter again, which was also set during the First World War, and which the same composer had been working on the previous year. And although the fictional "Daughter ...", to my taste, turned out more lyrical and fascinating, "Renoir", made with an eye on historical truth, takes others. The sickness and physical inadequacy of the genius are here contrasted with the carnal beauty of his new model and the unthinkable riot of nature. The artist’s estate is buried in greenery and is an example of a paradise, where the most terrible tragedy is a strong gust of wind during a walk. But the one who inspires the insatiable artist to work during the day goes to bed with his own son Jean, the future famous film director. It would seem that there is no reason for rivalry and Shakespearean passions? However, the filmmakers prefer to avoid the escalation of a possible conflict.
“Renoir” is such an indescribable delight for the eyes that the impending plot drama and really want to drive away where far away and without crooked interpretations to understand a person who is not at all safe. What can there be a rest when you pose for such a charming girl that Titian would be jealous, and you live in Cagnes-sur-Mer - one of the most picturesque corners of the world? “The pain passes, but the beauty remains.” Renoir himself, meanwhile, had only four years to live.
Renoir. With the sound of this French name, one wants to slow down and forget about the frailty of the world. Exactly this feeling remained after watching the film “The Last Love of Renoir”.
Cinema is like painting. It was important to show the creators. And the light here, from the whitish dawn to the cold moon, tried with his brushes to color the natural beauty that the great artist saw. If we take into account that the cinema often does not show life as it is, but saturates the picture with the brightest images, turning dramatic plots, flaming conflicts, then the film was real life, without embellishment, without drama, and only God created the direction. Only nature, only the sound of waves, the rustling of heather, the velvety of the skin, the solar wind. As if no detail had been foregone, some total flow and virgin truth.
"The structure should be created by color, not by drawing." The beauty of life is important not only to notice, but also to create, multiply. It was Renoir’s mission, and he did it without ego, full of love and gratitude. The pain passes, but the beauty remains.
The phrase “not for the general public” has been repeated a lot lately. Sometimes appropriate: viewing requires concentration, mental tension, erudition. But they use this definition in those cases when the dissatisfied viewer want to strictly indicate: what you want, did not like – so it is not for you!
This film, in my opinion, is just the second case.
To be honest, Renoir is a god to me. Raised as a child as a professional art critic on the masterpieces of Tertyakovka, I was shocked to see Renoir for the first time. I think it's too much to explain. Light, color, olive eyes of girls and almost physical sensation of air!
Visually, this tape is magnificent: the Renoir space seems to be animated without any losses. Nice music. Carefully reproduced costumes, as if out of the frames of the artist.
However, the state after the film is emptiness and even some sense of deception: as it happens in childhood, when they tell you: I will tell you this now, I will tell you this. That doesn't happen. The facts are reproduced exactly according to sources: he suffered from rheumatism, sat in a chair, drew, overcoming pain. Three sons, two wounded in the war. Except for the listing of facts there is nothing. There's no story. And when you see many times a brush without meaning carrying on the drawn, it seems like a fake. Well, they can't reproduce Renoir's smear, so no one makes it show so many times! There's a movie about Rublev shot without a single frame of drawing.
There are good little episodes in the film: the wind on the shore by the water, work in the kitchen, but they do not make the weather, the episodes do not add up to the narrative, it tramples around the well-known. And good actors do not help: by and large, they have nothing to play.
In short, it seems that the film turned out to be artistically much lower than the topic to which it is devoted. Lovers of Auguste Renoir will not really learn anything from him in addition to their knowledge, either in the sense of information, or in the form of comprehension or feeling.