Farinelli

This movie is about Farinelli, one of the famous Castro Singers during the 18th century. He had the voice of an angel when he was a boy and since his family was very poor, an operation of castration was done to him in order to preserve his voice and help his family out in poverty. There were some strange parts during this film such as when he got older he and his brother Riccardo traveled together and never left each other. His brother was there during Farinelli's lovemaking in order to complete and finish the task that his brother could not do since he had been castrated. And then there was the white horses that Farinelli saw every time danger was present or near. This warning was not clearly explained in the film. The acting was very good. I enjoyed the variation of languages of French and Italian with a little bit of English thrown in. The costumes were excilent and the way the actors portrayed the characters during that past time period were done good. One makes you feel sorry for Farinelli because of what he did lack and also makes you feel for him because everybody would make a specticle of him because of his castration and the fact that he could not complete the task of lovemaking (personally..... I do not think that he really needed that, he was good being his own person anyway). Farinelli's popularity had worn down during the middle of his career due to his excessive use of opium in which his brother provided for him in order for him to sleep and get rid of any pain or stress. During the end of the movie we find that it is Riccardo that turned his little brother in because of his ability to sing and thus help his poor familiy. Not much is mentioned of his familiy but in the beginnig of the movie we do know that his family was poor and Farinelli offered himself as well as his voice because his voice was all that he did have in order to stay alive. This movie was a good film and I give it about a 7. There were several parts in the film that were not clearly explained and that was the only flaw.

I think some long periods of Farinelli's life are left out. The film is too focused on his love life, making it definitely a female movie. There were a lot of other aspects to explore. We also get to see the obligatory scenes of audiences being mesmerized by opera, as if they were some island natives and not opera house regulars. Nevertheless, being a high budget movie, it has great costumes and beautiful scenery. Most of all you get the chance to explore the divine music of Haendel.

I know I'm being sort of anal by mentioning this, but this movie, as beautiful and enchanting as it is, has many inaccuracies.

Farinelli, in addition to his handsome features and heavenly voice, was also a very humble person and hardly displayed the raucous behavior of a "rock star" as depicted in the film.

Second, the singer was known as disinterested in sex, thus I have no idea why the sex scenes in the film were included. True, there WERE castrati who did engage in pleasures of the flesh, but Farinelli was NOT one of them, or at least there are no historical records suggesting so.

All that aside, this movie was a lavishly done production and a must-see!

This remarkable film remains one of my favourites. The story line at first left me wondering why the director had chosen to make the film in the first place. Luscious scenery, beautiful costumes, sets, extravagant, but historically accurate stagings for the opera scenes, great language and dialogue - but why make a film about an all but forgotten singer from almost three centuries ago? Nothing in the film seemed to give a clue as to why anyone would go to all the bother of reconstructing a marvelous voice so painstakingly, and choose one of the great performers of our time to oversee the performances of the music. Repeated viewings did not seem to throw any light on the vexing question that, despite all the lushness and splendour I was still missing some point to the whole exercise. It was only on the third or fourth viewing that I noticed in the opening credits a small remark - in French - "to the memory of my daughter . . "name"". Suddenly the whole thing made sense. This marvelous and true story of the castrato is, perhaps, the directors attempt to describe his impotence in the face of the loss of his beloved child. Viewed in this light the ending of the film and the sequences in London between Farinelli and Benedict finally begin to have a poignancy and a sadness that is truly stunningly and sensitively achieved whilst adding to the story line. I love this film and cannot possibly recommend it enough. Any lover of Early Music should revel in it, but it has been lifted out of the ordinary and into the universal and sublime by that one small realization. Superlatives cannot do it justice.

Famed 18th century (castrato) soprano Ferinelli invites a serious biographical study. This 17-18th c. period was, until recent times, skirted over by musicologists and music history teachers.

The result of this omission has been an unsuspecting awareness of the extent to which male performers dominated all forms of period theater, including opera, oratorio, cantata, ballet, and stage plays. "Ferinneli" had an opportunity to provide substantive information in filling this void.

Unfortunately, what resulted is just another Ken Russell-type production (a la "The Music Lovers," "Lisztomania," "Mahler," etc.). In fact, were Andre Corbiau's name not credited as director of "Ferinelli," one would swear this was a Russell composer biopic.

All Russell trademarks are there: excessive closeups of actors in dramatic distress, swirling activity to cover up script weaknesses, and disjointed highlights instead of sequence continuity.

Director-coscriptor Corbiau has Stefano Dionisi as Ferinneli forever falling down and collapsing both on and offstage for no apparent reason, and using the old device of having him hesitate to sing on cue before a full house to superficially create suspense and anxiety.

In fact, Corbiau, like Russell, is more intent on affecting than expressing: manipulating the viewer than sincerely sharing. As a result, one is held a arm's length of emotional participation throughout.

While no contemporary production can create a truly authentic period setting, there are questions which arise here: George Frederick Handel, one of the world's most prolific and fine composers, is reduced to that of a mere rival theatrical impressario; and Farinelli is forever acting oddly--claiming vocal loss, serious indisposition, and tripping out on opium. Indeed, at times this seems more like a baroque version of sex-drugs-and-rock-'n'roll.

On the brighter side, the staging of the operatic scenes are wonderfully on-target, having been obviously well-researched and meticulously designed. The combination real-and-computer-created vocal work is fascinating in its etherial timbre and in its negotiation of Handelean melismas, embellishments and assorted ornamentation. Likewise, the baroque pit orchestra and period opera house decor is strikingly detailed.

What a pity "Farinelli" fails in its main opportunity: to convey a simple, heart-felt story of one of history's most celebrated singers.