FINAL PORTRAIT
US, 2017, 90 minutes, Colour.
Geoffrey Rush, Armie Hammer, Clemence Poesy, Tony Shalhoub, Sylvie Testud.
Directed by Stanley Tucci.
Final Portrait is a brief film about artist and sculptor, Alberto Giacometti, living and working in Paris in the middle of the 1960s. Much of the film is confined to his studio, his workspace, living quarters, upstairs storage and the workshop for his associate, Diego.
The film was directed by noted American actor, Stanley Tucci, his previous films in direction included The Big Night, Imposters, Joe Gould’s Secret. Tucci does not appear in this film but his friend and collaborator, Tony Shalhoub, portrays Giacometti’s assistant.
The screenplay is based on a memoir by an American, Jim Lord, who encountered Giacometti in Paris and was persuaded to remain there to pose for a portrait, taking a far longer time than Lord anticipated, but Lord agreeing to remain, fascinated by the work of the artist as well as his continually scrapping the work he had done, beginning afresh, seemingly dissatisfied, but finally producing a portrait.
This makes much of the film a two-hander, conversations between Lord and the artist, the sequences where Lord poses, is momentarily distracted, arouses Giacometti’s ire…
Geoffrey Rush is obviously enjoying his interpretation of Giacometti, Moody, artistic in every way, a perfectionist always dissatisfied, working on his sketches, on his paintings, his sculptures – with the audience having the opportunity to view many of these as the camera roams around his studio.
Armie Hammer is Jim Lord, a well-to-do American, interested in the artist’s work – and later writing about him.
There are some complications in Giacometti’s personal life, his relationship with his wife, played by Sylvie Testud, loving her husband but also tempted to other relationships. Giacometti is not only tempted but is in a long-term relationship with a local prostitute, Clemence Poesy, who operates from a local club, is unembarrassed in her relationship with the artist, easily cavorting and canoodling with him at the club, letting him buy her an expensive car…
So, the film itself is also a portrait, a kind of final portrait not only of Jim Lord but of Giacometti himself and his artistic achievements.
1. A portrait of the artist, Alberto Giacometti?
2. Audience knowledge of Giacometti? His status in the art world?
3. 1964, Paris locations, the house and lanes, the streets, the studio, the cafes? The musical score?
4. The titles on the days, 1 to 18?
5. The portrait derived from James Lord's book, situations, description of Giacometti working, lines of dialogue?
6. Giacometti, Geoffrey Rush’s screen presence and performance? Swiss background, reputation, his sculptures, paintings? His working with his brother? His love for Annette, yet his infidelities? He is a devotion to Caroline? Working with her? His wanting perfection? His self-regard, putting himself down, his sayings and paradoxical expressions? Character, irascible with his work, swearing, artistic temperament, love, devotions? His hiding all the money? His moods, interactions with James, his brother, his wife, Carolyn?
7. Jim Lord, the source of the portrait, his voice-over? In himself, American, wealth, smartly dressed, his relationships? Sitting, posing, feeling awkward, the long days, wanting to move, the effect on him physically and psychologically, his having to change his flights all the time? With Giacometti, the interactions? Discussions with Diego, Annette, Carolyn? Going swimming, wanting deadlines, planning with Diego to finish the portrait?
8. Annette, loving wife, betrayal by her husband, life in Paris, the Asian man with her? Her work, cleaning up, the nights with her husband? Chagall, the opening of the Opera house, the dress and showing it off?
9. Carolyn, local prostitute, escort, companion to Giacometti, over the months, posing, sexual relationship, her eagerness, the control of her pimp, disappearing, the buying of the car, the reckless drive and the response of Giacometti and Jim? At the restaurants? Giacometti and Jim with the pimp, the deal is about the money, payment for the relationship, modelling, the past and the future?
10. An episode in the life of Giacometti, yet the detail of seeing him at work, Geoffrey Rush’s performance, at the easel, looking at the model, looking at the painting, mixing the paints, splashes, detail and style?
11. The news of his death?
