正在同步电影信息
ThedivafilmusedthetropeofpaintingaswellasthatoftheatertodiscloseambivalentresponsestotechnologicalmodernityinItaly.InMadameTallien(aswellasin"LaDonnaNuda","IlQuadrodiOsvaldoMars"or"IlFuoco"),paintingisprimarilyabouttherelationbetweenartistandmodel.ThisapproachinvokesthestoryofPygmalion,thesculptorwhofellinlovewithhisownbeautifulstatue.In"MadameTallien",thecanvasbelongstoElisabeth-LouiseVigéeLeBrun,thefemaleartistatthecourtofMarieAntoinette.ThishistoricalcharacterisshowinpaintingtheMarquiseTeresiadeFontenay,playedbyLydaBorelli.FromVigéeLeBrun'smemoirs,welearnthathersistereventuallybecameknownasMadameTallienandthatherbeautyrivaledthatofMadameRécamier.<br/> Notonlyisitunusualinthegenreofthedivafilmtoseeafemaleartist,butinthishistoricaldramabyEnricoGuazzoni(1976-1949),basedonaplaybySardou,Borelli'scharacterswitchesfrommodeltopainterwhenTeresiaisshownathomepaintingalandscape.Therevolutionroamsthestreetsandthecountryside;itissaferforTeresiatoworkfrommemoryinsteadofpaintingenpleinair.Inthisfilm,paintingisalignedwiththeroyalistsandusedasakindofmaskonthewall.Anovalportraitwithagildedframecoverstheentrancetoasecrettunnelleadingtoanunknownareaofthehouse;thereBorellihideshersecretlover,JeanGuérin.Heis"theunattainableroyalist"whomtheimplacableRobespierrechasesalloverParis.<br/> WhileRobespierre'stroopssearchTeresia'shome,asoldierstabsthepainting,thuscallingattentiontotheantithesisbetweenthepaintbrushoftheeliteandtheknifeofthemasses.Inthissensethepopularmediumofcinemaisclosertotheguillotinethantothecanvas.YetGuazzonitakesamuchmoreconservativeposition,sinceheusesMadameTallien'shistoricalreputationas"OurLadyofGoodHelp"toarguethatforgivenessisbetterthanexecution.Infact,Borelli'sheroinebecamefamousforherabilitytosavemanyroyalistsfromdeathbypleadingwithherhusband.MonsieurTallien,aleaderoftheRevolution.TheFrenchRevolutionwascharacterizedbyextremeviolence[...].
