A Bigger Splash

Often just one watt above tedious, this sluggish yet occasionally fascinating doco about Brit artist David Hockney and the creation of his California Pool paintings clashing with the breakup of the young man of his poolside fancies makes for maddening viewing. Maybe it should have been 80 minutes instead of 108. However what is there is always just about to be really interesting and perhaps now in 2011, forty years after filming it is a 'record of the time' as opposed to 'that boring documentary'. In a strange way I found the London flats and wet cold streets and domestic shuffling about on cold mornings or dull afternoons all quite evocative, and gave me a true feeling for 'that day there then' which I rather liked... but up until the point that each scene really went nowhere and Hockney's affected style and goggle glasses were almost just a stunt of his own life. It really is just a portrait of a very ordinary man who happens to be able to paint quite interesting early 70s imagery of his time.... and the fact that the film contains quite explicit nudity to zap it all awake occasionally. The California scenes at the pool are quite beautiful especially now they are 40 years ago, and offer a diversion from the grey London life. They also allow the great paintings to come to life, which is well realised. Jack Hazan, the producer and director clearly has created a quality film of excellent production values (35mm and good sound) and it is to him that the film actually belongs. One scene when Hockney slashes then cuts up one canvas will make art dealers scream with horror at the value being shredded. The film overall is a valentine to Hockney 1971-3 and viewed 40 years later is one of which they alone could be proud. I thought of Ken Russell and the era of his British film productions of the early 70s. It seemed to be the world Russell might also inhabit. I found A BIGGER SPLASH to be very pedestrian yet I wanted to watch it all to see if it got any more interesting. in the end it wasn't but I did get a strong feel of the times and place and I did like that... but that is Jack Hazan's work, not Hockney's. It is all really just a very well captured home movie of Brit life in cold flats in 1971.

This is an odd quasi-documentary ostensibly about Hockney's breakup with his protégé and lover (Peter Schlesinger) and, to some extent, its effect on his painting and on his relationships with his friends and colleagues.

Very unfortunately the result is a mish-mash: some glimpses into what passes for access into the worlds of art and fashion (one particularly long fashion show scene is almost painful to watch); musings on the relative merits of London, France, Italy, New York and California (early-70s New York comes off as truly wretched); contextless vignettes of Hockney's friends and colleagues, who could not possibly be as dull as they are presented here; some actually interesting looks at Hockney's techniques, including "joiner" collages he used to construct elements of his paintings; and all this punctuated with what is supposed to be an examination of the breakup between Hockney and his younger boyfriend. A good bit of gay sex and nudity are thrown in to spice things, and while it was assuredly arresting in 1973, very little of it feels very sensual, and certainly not erotic. Their relationship is left entirely unexamined, so at best one might conclude that Peter is more self-absorbed even than Hockney or that he simply prefers the company of men more his age. Ho-hum.

This might have been a lot more interesting at 45 minutes: you might not notice how inconsequential it all seems.

Ive saved this film to my watchlist for a long time, saving it for when i can appreciate watching it rather than background noise.

I rather liked the film. You have to know Hockney and his works to understand it. Yes it dragged in parts but i didnt mibd that, its artistic not a full on gangster shoot out.

It was nice seeing full male nudity on screen as this is very rare even these days, it makes a change to see instead of naked women all the time.

Great to see ossie and Celia in the film..sadly ossie passed away in the 90s and this is a rare bit of footage of him.

The premise of the film is simple enough, but done in hockneys own artistic way. I liked it as much as his art.

Artist David Hockney is such a lively colorful figure that one might expect a film about his life and art to be a bubbly romp. But Jack Hazan takes quite a different route. He followed Hockney and his circle of friends around for quite a considerable amount of time -- shooting in 35mm, rather than 16mm as was popular for documentary films at this time. Moreover, rather than aim for a "cinema verite" styled "truth," Hazan deals in fantasy and melodrama. The action covers a period in which Hockney and his lover and model, Peter Schlesinger, are breaking up. Hockney is having what appears to be a somewhat difficult time finishing a large canvas for which Schlesinger was the subject, and Hazan suggests that the end of the relationship played a part in this difficulty. But he only suggests. He doesn't offer a set conclusion. What he does do is utilize film as means of entering Hockney's visual world. Many of his close friends and associates, including Ozzie Clark, Celia Birtwell, Patrick Procktor and Henry Geldzahler make appearances conversing with Hockney -- whose verbal wit is everywhere apparent. Most daring of all is scene in which Schlesinger and another young man make love.

When he finally saw the results Hockney was both surprised and slightly appalled. "Two hours of weeping music," he called it. No surprise as "A Bigger Splash" gets a lot closer to Hockney's inner and outer life than he probably imagined it would.

A very important film for art lovers, and a very important piece of gay cinema.

Jack Hazan's quasi-documentary A BIGGER SPLASH is an unfocused examination about the creative life of David Hockney and supposedly about the effect of his past relationship with his pupil Peter Schlesinger (an artist, sculptor, and photographer who Hockney not only enjoyed as a lover but as a disciple). The précis appears to be that Hockney, in the throes of disappointment about the dissolution of his affair with Peter, decides to move to California where he has already been established as a painter of California people and places.

In London we meet his friends - Celia Birtwell, the elegantly stylishly beautiful model Hockney used repeatedly, dress designer Ossie Clark, confidant Mo McDermott, and patron Henry Geldzahler - each of whom Hockney painted and drew. We watch as Hockney visits the galleries and admires works of his friends, how he paints in his studio, how he relates to his gallerists (like Paul Kasmin), and how he perceives men and other artists.

Peter Schlesinger figures prominently in the film with many episodes of Peter's swimming in the pools of the people Hockney would eventually immortalize. He is a fine presence and carries his silent role well - almost appearing as a ghost muse that keeps Hockney focused on his now infamous swimming pool paintings.

The magic of this film, for those to whom Hockney is a well known and important painter, is the visual recreation of the paintings that have made him so famous: we are allowed to see Celia and her husband with white cat in context with the canvas, the view of Peter staring into the pool at an under water swimmer, the woman and her animal heads who appears in another of Hockney's famous paintings at poolside, etc. This kind of cinematic background is valuable now and will prove invaluable to the archives of David Hockney. For those people this is a must-see film, despite its meandering technique and choppy editing. For others, it may seem too self-indulgent.