Casanova

'Casanova' is a funny Venecian comedy that has a good doze of romance, humour, drama and colour. Yes, the sets and costumes are pleasantly colourful. The art direction deserves credit. Even though the sets look theatrical, it fits with the presentation. The whimsical score adds energy. The editing is mostly good but the film does drag a little in the middle. In terms of story, there isn't anything new (which is the usual case with romantic comedies) and I would have liked to see the love blossom between Casanova and Francesca after they find out each other's identity and also how Casanova resists his 'urge' to be with other women in order to be faithful to Francesca. The dialogues are witty and amusing. Heath Ledger fits the part and effectively pulls off the title role. Sienna Miller is unrecognizable but still pretty. She may arguably be a little too young for the part but is still vivacious and her youth adds to the stubbornness of the character. Lena Olin has a graceful presence. Oliver Platt is hilarious. The romantic track between Paprizzio and Andrea is among the most endearing and funniest moments. Omid Djalili is great as the sidekick. Jeremy Irons is good too. 'Casanova' isn't pathbreaking cinema but it would make for a good date movie or a Sunday night/rainy day film. It's colorfully vibrant. It's funny. It's nice to look at.

"Casanova" is a delightful comic farce that uses a period setting for an amusing cross between "The Princess Bride," "Much Ado About Nothing" and the spirit of "The Marriage of Figaro" (not at all "Don Giovanni" that is based on the same legend).

Director Lasse Hallström gets the romantic romp tone right here, compared to what he did not achieve in "Chocolat." He establishes from the opening that this is just fun opera buffo, with frequent sight gags and commedia dell'arte troupes and Punch and Judy-type puppet shows broadly commenting on the action, though it took four writers to stitch together the broad double entendres and winks at Shakespeare, from, appropriately, "Merchant of Venice", to "The Merry Wives of Windsor" to "Taming of the Shrew."

Heath Ledger has grown up since he first demonstrated he had the light touch for romantic comedy in the teen version of "Shrew," "10 Things I Hate About You," and he's much more confident now. One of the cute conceits of the film is that the women are the aggressors, especially the virgins and novices. As the title character, he modestly claims that his success is solely due to his ability to submit. While he's not particularly leonine in the frequent shots of him lounging on a divan, he is dashing as he runs around Venice taking on several different mistaken identities. If his clinch with Jake Gyllenhaal in "Brokeback Mountain" wouldn't already qualify him for an MTV Best Kiss this year, the big one with Sienna Miller could earn a nomination.

Miller is a bit young for her role as a Portia-like "transvestite" philosopher defending the rights of women, but her youth makes her brash earnestness seem more charmingly naïve. As her lively mother, Lena Olin provides the older woman ballast, without the usual sex-starved widow stereotypes.

Oliver Platt should be signed immediately to do a major production of "Falstaff," as he deftly and physically plays that character type, here a lard mogul representative of mercantile Genoa, even more deliciously and sympathetically than he has in "Ice Harvest" and "Huff."

Jeremy Irons has fun playing the Inquisitor, representing religious Rome, whose purple robes fit right in at a carnivale masquerade ball.

The look of the film helps enormously, with the best use of Venice as a sensuously unique setting since "Dangerous Beauty," not just for the usual gondolas and canals, but the steps, plazas, architecture, roofs, narrow streets, alleys and the light. The wigs and costumes are wonderfully colorful.

The marvelous stitching together of Baroque music keeps the mood merry, with overtures and dances from eight Jean-Philippe Rameau operas, six Italian composers, including of course Vivaldi, as well as snatches of Handel and Telemann added at appropriate water and fireworks moments.

It reminds a lava cake. Because it is a real delight. From acting to the landscapes, from the story, reminding Marivaux to the costumes, drom humor to music. A film about a sort of Casanova not different but seductive. And, after many reserves about opportunity to propose Heath Ledge in the lead role, you discover, scene by scene, the special bbeautiful work of him. Short, just adorable.

This movie is a blast. If you're a fan of Shakespearian situational comedy (Twelfth Night, Midsummer Night's Dream, etc) then you're in for a treat. And please note that when I refer to Shakespeare, I'm talking about the original plays, not some stupid Kenneth Brannaugh romp.

The plot weaves a wonderfully tangled web of lies, misunderstandings and mistaken identities. The characters are just plain fun to watch. And director Lasse Hallström pulls off what so few people are able to do: make a comedy that doesn't offend anyone. Well, actually I think some Catholics may be offended at the uncomplimentary portrayal of the 18th century papacy, but from what I know of history, it's well deserved.

But this leads me to another point. Don't expect history, OK? A few reviewers seem to be upset by the poetic license Hallström takes. C'mon people, it's a fantasy. It's no different from the film AMADEUS which trounces all over historical fact but gives us a fantastic dramatic fiction in return. I admire creative writers who can turn history on its ear.

So yes, this isn't the erotic, decadent Casanova you may be expecting. In my opinion, that portrayal is hackneyed anyway. This is a much fresher approach. So put down your history books and enjoy the picture already.

I just saw Casanova. I read most of the comments here before I went to see it and honestly I was on my way to give up on it. I had fun. I laughed and enjoyed it. One thing though: this is a comedy. If you are in search or a historical, accurate description of the famous Casanova then you are on the wrong path. Some people here said Jeremy Irons was... over-acting? Come on.. give him the merit he deserves as a great actor that he is. He was enjoying his role. I could almost see him laughing on the set after the director shouts out Cut! The only dramatic moment towards the end of the movie seemed to be there just to reinforce the comedy picture after it. Sienna Miller seemed a bit uneasy to me at the beginning with the speech in the University.. I loved the costumes and the settings. It definitely makes you think of buying a ticket to Venice. (Again!) Sensual? 10% Love story? 40% Comedy? The rest. So I say, if you are in the mood for something light, give it a chance and laugh :) And let us agree to disagree, shall we?