Le messie sauvage

Art, expression, age, repression, sex, revolution and death... just some of the themes central to Ken Russell's typically exuberant biographical film, Savage Messiah (1972). At its most basic, the film looks at the troubled and often confusing relationship between French sculptor Henri Gaudier and struggling writer Sophie Brzeska. However, director Russell - ever the iconoclast - uses the film's internal subject matter as a platform to attack the idea of artistic criticism. With this in mind, the film goes beyond the more identifiable elements of biographical fiction to become something of a satire, as Russell eventually branches out and takes further swipes at film producers, financiers and the viewing public, who - in Russell's view - have destroyed the notion of 'art', both in its own right, and in the purely cinematic sense of personal expression.

As the film unfolds it becomes clear that Russell is using Gaudier as something of an alter-ego; a stroke of characterisation that I'm sure is pure egocentric fabrication, as we see Gaudier become a laughing, wailing, scamp; obsessed with phallic symbolism and the female form and completely opposed to authority (sound familiar?). In Brzeska, his desire to find someone like-minded is fulfilled, whilst his appetite for lust and high-society remains just out of reach. The film is clever enough to subvert the usual love affair clichés, by depicting the couple's relationship through various alternative incarnations; mother and son, sister and brother, friend and foe, etc. As the film moves closer and closer to its final act, Russell offers us a touching and subtle depiction of loss, loyalty and friendship that ties all of these previous themes together exceedingly well.

Here the usually bombastic director elicits a number of wonderful performances from his cast, allowing them to feel their way through the portrayal of these complex and not always likable characters, as opposed to simply acting it out. Amongst the stars, Scott Anthony impresses as the wildly enthusiastic genius Gaudier, whilst dance choreographer Lindsey Kemp plays the pitiful, snivelling promoter Angus Corky. However, it is Dorothy Tutin as the tortured Brzeska who really stands out; delivering a beautiful performance that registers long after the film has finished. Russell's creative restraint is also evident in the way the film is put together. Set design is again by Derek Jarman, who creative the city of Loudon in Russell's earlier masterpiece The Devils (1971). Whereas that film relied heavily on theatricality, pop art expressionism and stylisation, Savage Messiah instead creates a more low-key reality that is no less iconic or impressive.

The realisation of the film is in the cobbled streets, the dingy basements, the gutters overflowing with rancid, rotting fruit and vegetables, the constant pouring rain, the art and the artist, and the juxtaposition of the polite, stately bourgeoisie with the common artiste they so adore! Even the cinematography and lighting manages to forgo the usually vibrant, cartoon-like buffoonery of some of Russell's more outré endeavours, using natural light - including candles, bonfires and actual sunlight - and unobtrusive compositions reminding us of what a great talent Russell was before the likes of Tommy (1975) and Lisztomania (1975) took him beyond the boundaries of taste. The film has a number of amazing sequences, such as the first trip to the art gallery, Gaudier's all-night sculpting session, the trip to the rockery, the carnival-like nightclub and, of course, on a more superficial level, the young Helen Mirren posing nude.

Unfortunately, the current cinematic climate tells us that we should ignore the films of the past, and instead look forward to vapid remakes with that dry, MTV mentality. A sad fact, since despite a couple of minor flaws, Savage Messiah is a true original; one of Russell's many personal and groundbreaking explorations of artistic expression, and one of those films that demonstrates his true talent and stature of one of British cinema's true originals.

Ken Russell made entertaining films; you would be unlikely to fall asleep during your first viewing of any of them. He was at the top of his game in the 1970s when 'Savage Messiah' was made (his previous film was 'The Boy Friend' starring Twiggy). This one is a biopic about French artist/sculptor Henri Gaudier portrayed here as unconventional, out-of-control, over-the-top, and his love for an older Polish woman writer. She is played by Dorothy Tutin who wins the film's acting honours hands down. The DVD released by Warner in 2011 has moments where the sound is slightly out of sync, especially during Helen Mirren's scenes; perhaps the editors were thinking about something else. Ms Mirren, in her late-20s here, cuts a striking figure as a suffragette and obliges us by appearing in her birthday suit.

Ken Russell always has been a controversial film-maker, interesting and unique certainly but did have a tendency to resort to excess that could cheapen things. If we exclude his composer documentaries on Elgar, Delius and Debussy(wasn't crazy about the one on Richard Strauss), which are even better than any of his feature films, Savage Messiah is an underrated film. Maybe it could have had more time to breathe in places, while the deliberate pace was very effective there was a tendency to have a restless vibe, and more could have been done with Gaudier's war-time experiences, it was still affecting but compared to the love relationship it did seem on the brief side. However, it does rank alongside Women in Love, The Devils, The Music Lovers and Mahler as one of his better films(of his feature films the only one that I'm iffy about is Lisztomania). It is opulently and atmospherically filmed- if not as much as Valentino or The Music Lovers- and the production values are just as much and even more so. The classical music doesn't feel too much of a hodge-podge and is placed remarkably well, not feeling misplaced. Debussy is the most frequently used, and the impressionist style of his music is beautiful and powerful and judging from how many times his music has been used in his films Russell seems to think so as well. The script is dialogue-heavy and that it was very articulate and had genuine bite too is most admirable with a healthy balance of comedy and tragedy, while the story always engages and the platonic love relationship is told with emotion, while not exactly warm it's hardly hollow, and a sense of fun. Russell's direction is ideal for the subject matter and the story that's been told, like with Valentino for example you can tell he was having fun directing but he also does so with restraint, especially when being compared to Tommy or Lisztomania. There are some great touches here, those who say Helen Mirren's staircase scene is unforgettable are absolutely right, matching Leslie Caron's funeral scene entrance in Valentino in sensuality. The vegetable chopping scene is just as savage as the dialogue and you cannot fail to be moved by the final tragic 10 minutes. The performances while theatrical are fine, Scott Anthony does overact at times but carries the film excellently. Dorothy Tutin is superb as is Helen Mirren(one of those women who still does look amazing, always a standout at awards ceremonies). Overall, one of Russell's better films and deserving of more recognition, it is nice to see though that there are people who remember it very fondly. 8/10 Bethany Cox

This one is arty in such an unconventional and politically incorrect way, that surprises the viewer. Though old in style, it's 'fresh' in ideas and context.

It's the 3rd or 4rth Ken Russel film I got to see. Altered states, Music lover, Gothic, all rule in their own universe. And so does Savage Messiah.

RECOMMENDED TO ALL WHO ARE INTERESTED IN THE TRUE NATURE OF ART

I sure loved it!

Ken Russell did it with Valentino, Tchaikovsky, Mahler, and Lizst. He made British movies of these non-British geniuses, biographical at the obvious level, with satire and pathos lurking beneath the obvious layer. "Savage messiah" is once again a biopic of an eccentric French sculptor Henri Gaudier-Brzeska, though not as famous as Russell's three musical composers or the ballet dancer he made films about, yet a gifted French genius (an outsider in British society) who finds a Polish spouse 20 years his senior in real life ("ugly", he calls her in the film), intelligent, creative and sensitive as the sculptor but disinterested in sex. Russell captures the rich world of artist's agents, the rich who frequent art galleries and museums, rich society's rules that give importance of tucking in shirt-tails while appreciating art in museums, the rich copying art and passing the results off as genuine works...

Russell's film captures the brave suffragettes (in the character of Gosh Boyle, played by the stunning young Dame Helen Mirren, who even appears nude) who are not averse to sex and nudity and contrasts them with the lead character of Sophie Brzeska (a charismatic portrayal by Dame Dorothy Tutin), who never takes off her clothes and is openly averse to sex.

The director makes the viewer virtually taste the cabbage in the soup made by the poor artists as the rich agent savors the bad concoction. That is an example of Russel at his best.

The film is a love story--an unusual one. There is sexual energy that exudes in the cutting of cabbages by Dame Dorothy that seems to have been copied decades later in the vegetable chopping by Cate Blanchett in the recent film "Bandits". The death of the artist is captured by still photographs of the World War and his spouse viewing his sculptures in a public gallery.

The film is a remarkable work of two great actors--Dame Dorothy Tutin and Dame Helen Mirren--honored by the British Queen much after the film was made.

Russell and set designer Derek Jarman dishes out a movie that may not be outstanding but worthy of note to any one who appreciates the genius among artists and what they have to battle against in the quest to state the truth and tear down pretensions in society. It is a tragic tale of a genius nipped in the bud. Only his spouse, herself a loser among "geniuses", seems to realize this.