Montparnasse 19

The last years of Modigliani's life in Paris 1919, this famous italian-french painter not match with greatest like Cezanne and Van Gogh, but their paintings are so expensives nowadays which put him at high ground, the movie cover a few last years, he already condemned to die due the alcoolism, stayed some time in Nice near the sea to try to recover, back in Paris died still young 36 years old, sad end to true genius, neglected by many, today is honored, but too late!!! Great casting Lili Palmer, Anouk Aimée, Lino Ventura and Gérard Philipe as Modigliani.

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First watch: 2018 / How many: 1 / Source: DVD / Rating: 8.25

I love this French romantic dramas. This one have a big of a drama as well behind the camera.

Gérard Philipe was hired to work with Max Ophüls, unfortunately Ophüls died in production of this film not even finished to read the script made by Henri Jeanson who after his death fought vehemently with Becker to keep the original script. He didn't, he accept to film this Biopic for the admiration he had for Ophüls that before he died asked him to do the film. Jeanson did quit the film, Becker had terrible communication with the main actor Gérard Philipe for differences in how to approach scenes and they disagree constantly on set. Tragically Philip will die a year after this film was concluded at 36 of Liver cancer and Becker 3 years later at 53

This is the story of the last year in the life of Amadeo Modigliani the great Italian painter, theres a reference in my favourite scene of the film that Modi will cite Van Gogh talking about the fact of painting simple every day men instead of cathedrals. The question is asked by the ignorant millionaire who is trying to buy his paintings to use them as publicity banners, and that Modi strictly reject the offer. I felt so overwhelmed of passion and respect for him as the story is reared to this moment and the facial aspect of Gérard "ces't magnifique"

La dernière scène, le "marchand d'art" comme un corbeau attend sa mort puis, comme une lance, donne la poussée finale à Amadeo et Jeanne c'est terrible et la route avant sa mort m'a rendu très triste Es una película preciosa e inolvidable.

First, the re-issue is excellent; the Centre National de la Cinematographie has really done a fine job of restoration of the negative. The black and white values come through very well.

I suppose Gerard Philipe was the natural choice to play Modigliani, but I wasn't as impressed by his work here as I had been by Les grandes manoeuvres or Les orgueilleux: there's a routine quality about his acting here that I hadn't seen before. Anouk Aimee is very beautiful, and manages to infuse her portrayal of Jeanne Hebuterne with some life. Gerard Sety as the lifelong friend Zborowsky, Lilli Palmer as the wacky English mistress, and Marianne Oswald as the gallery owner all contribute fine performances. I don't care about how the picture was made--the lawsuit and everything else--just about the results.

Released as a love letter to both the artist Amedeo Modigliani and the spirit of Montparnasse, Montparnasse 19 reverberates with the raw emotions of creativity and the tempestuousness of artistic existence. In this evocative narrative, the audience is transported to a world where the struggle for artistic expression collides with the fragility of life and love.

Within the dimly lit cafés and cobblestone streets of Montparnasse, Modigliani's tortured genius comes to life through the brilliant performance of Gérard Philipe. His portrayal captures the artist's paradoxes-his insatiable passion for his craft and the demons that wrestle within. Philipe breathes life into the artist's tempestuous relationships, including that with Jeanne Hébuterne, portrayed with delicate grace by Anouk Aimée, whose presence provides a poignant counterbalance to the turbulence of Modigliani's life.

Director Jacques Becker's meticulous attention to detail recreates the heart of Montparnasse's vibrant art scene-a scene teeming with eccentric characters, from painters to poets, each struggling to find their place in the world. The artistic fervor envelops the audience, inviting us to witness the intertwining threads of passion, inspiration, and sacrifice that weave the lives of these vibrant bohemian spirits.

Montparnasse 19 stands as an evocative testament to the eternal tug-of-war between art and life. Like Ernest Hemingway's A Moveable Feast and Charles Aznavour's La Bohème, it captures the essence of fleeting moments, of laughter in the face of adversity, and the melancholy that accompanies the passage of time. This film invites us to experience the intoxicating blend of love, art, and existence; and pays homage to the dreamers, the creators, and the eternal pulse of bohemian life.

In 1919, the painter Amedeo Modigliani spent the last year of his life. He lived in abject poverty in the Parisian artists' quarter of Montparnasse. This is the story of the film by French director Jacques Becker (1906-1960), who created such masterpieces as TOUCHEZ PAS AU GRISBI (1954) and LE TROU (1960).

Modigliani (Gérard PHILIPE) is kept afloat by Anna Zbirowska (Lila KEDROVA / OSCAR 1965: ACADEMY AWARD for ALEXIS SORBAS) and her husband, and his gallerist Berthe Weill (Marianne OSWALD) also tries hard to find buyers for his paintings. But it's simply not enough. The handsome Modigliani also has to accept payment for his sexual services from the British writer Beatrice Hastings (Lilli PALMER / GOLDEN GLOBE 1960: nomination for BUT NOT FOR ME). The only bright spot in this messed-up situation is his tender love for the young Jeanne (Anouk AIMÉE / OSCAR 1967: nomination for UN HOMME ET UNE FEMME). But the path to self-inflicted ruin seems inevitable. Or could the interest of the art dealer Morel (very diabolical: Lino VENTURA) bring the longed-for salvation?

Jacques BECKER took on this commissioned directorial role as a replacement for his idolized Max OPHÜLS. Becker apparently got along well with the leading actor Gérard PHILIPE (1922-1959), but he apparently rejected his style of performance. Becker couldn't have prevented such a major French film star as Philippe from appearing, even though it completely contradicted his style of filmmaking. This is certainly evident in the film, but Becker has turned it into the eternal drama of a misunderstood artist (the complete opposite of Philippe), who can only be "recognized" by the audience after his death.

The wonderful Lilli Palmer (1914-1986) plays her small role superbly, as always. The lack of dubbing makes it possible to discover today what was cut from the film for West German audiences at the time. At the very beginning, the writer played by Palmer ends up in bed with the main character and is seen again after the act. Seeing the crowd-pleaser Palmer in such a compromising situation was probably too much for West German audiences to bear at the time. Bygone days!