As a film buff with decades of cinematic experiences under my belt, I can’t help but feel a sense of kinship with Johnny Depp as he steps into the director’s chair once more after a long hiatus. His latest offering, “Modi, Three Days on the Wing of Madness,” is an intriguing exploration of the life and times of the enigmatic Amedeo Modigliani – a man who, much like Depp himself, was celebrated posthumously for his unique artistic vision.
Renowned for his unique, elongated and almond-eyed depictions of the human form, the Italian artist Amedeo Modigliani passed away in 1920 at only 35 years old, struggling with tuberculosis and poverty, yet barely celebrated. On the other hand, Johnny Depp has not only lived longer but also achieved more fame before his death at 61. However, there’s a hint of compassion for the classic figure of the misunderstood, revolutionary artist who was unappreciated in his own era, in the film “Modi, Three Days on the Wing of Madness.” This biopic about Modigliani, which marks Depp’s return to directing after almost 30 years, seems to embrace a bohemian spirit but has a limited focus. The film is captivated by the concept of creating art beyond conventional financial and aesthetic boundaries, although its narrative and perspective are not entirely novel.
Typically lively, despite its somber real-life aspects, and easier to approach than its complex full title implies, “Modi” is expected to catch the attention of distributors in Europe, where Johnny Depp’s career has experienced less setbacks recently compared to in America. (The movie made its debut in the main competition at the San Sebastian Film Festival.) However, it remains a questionable venture elsewhere – though it will likely be seen by more people than “The Brave,” Depp’s first directorial effort, which was quickly forgotten after its 1997 Cannes premiere. Compared to that ill-fated vanity project, “Modi” is undoubtedly more polished. Perhaps one reason for this could be Depp’s decision to stay out of the spotlight as a director, with Italian actor Riccardo Scamarcio’s captivating portrayal in the lead role being the film’s most dynamic feature.
Originally conceived as a project for Al Pacino to act and direct back in 1979, based on a play by the late Dennis McIntyre, the film “Modi” has undergone significant changes over time. Now, Pacino only appears in a brief cameo as Maurice Gangnat, a well-known art collector who fails to recognize the full extent of Modigliani’s genius, as portrayed in the movie. In reality, Gangnat was more than just an acquaintance; he provided support to the artist. However, the script written by Jerzy Kromolowski and Mary Olson-Kromolowski does not strive for historical accuracy. Instead, it seeks to capture Modigliani’s essence and mood during a fictional three-day span in Paris during World War I.
As a movie buff, I’d say it goes something like this:
The story unfolds as a blend of hangout film and comedy, chronicling the escapades of a threesome as they navigate their lives, searching for meaning, motivation, and affordable alcohol in the grittier parts of Paris – all while the fictional character Modigliani periodically visits his friend, art dealer Leopold Zborowski (portrayed by Stephen Graham), to gauge any renewed interest in his work. The narrative often veers towards earthy humor, but occasionally shifts into a more somber dramatic tone as it touches upon the grim realities of war and haunting visions of impending doom that torment our protagonist.
The film portrays Modigliani’s tumultuous interactions with Hastings through a series of intense and playful discussions revolving around his enduring legacy, the balance between creation and destruction, and their contrasting roles as an artist and a journalist. When he criticizes saying “I create art, you just write about it,” she responds defensively, hinting at a message from the director to his critics. Despite Modigliani’s unpredictable and illogical moments, the film always sides with him emotionally, and even displays admiration towards him: The depictions of him working are captured in quiet, reverent tones. Scamarcio’s acting, delivered with a casual charm, prevents the movie from becoming overly sentimental, as does the spark between him and Desplat.
In a surprising twist, “Modi” slows down noticeably halfway through, as the story shifts towards a possible breakthrough encounter with Gangnat. However, audiences should be aware that this meeting won’t result in any grand triumph. Beautifully framed by Dariusz Wolski and Nicola Pecorini, and designed by David Warren in a Modigliani-inspired color scheme of browns and ochres, the film clearly admires its subject and perhaps more so, empathizes with artists navigating a world where art isn’t everything. In one scene, Modigliani tells Gangnat, “Your power lies in your pocket. Your taste is in your rear.” Much like other films about famous painters, “Modi” is faithful and conventional rather than inspired by genius.
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2024-09-24 22:46