DANGEROUS BEAUTY
UK, 1998, 114 minutes, Colour.
Catherine Mc Cormack, Rufus Sewell, Jacqueline Bisset, Oliver Platt, Daniel Lapaine, Moira Kelly, Jeroen Krabbe, Joanna Cassidy, Naomi Watts, Fred Ward, Jake Weber.
Directed by Marshall Herskovitz.
A Dangerous Beauty (The Honest Courtesan) is a film about 16th century Venice. It is based on historical research by Margaret Rosenthal and the film is directed by Marshall Herskovitz, a producer-writer (episodes of Thirtysomething and The Last Samurai).
The film is a star vehicle for British Catherine Mc Cormack as an independent young woman in Venice, dominated by her family (especially her mother, played by Jacqueline Bisset). However, in wanting true love rather than an arranged marriage, she agrees to live as a courtesan, admired by the men of Venice. She is also in love with a young man, played by Rufus Sewell. While they have a relationship, she has her reputation as a cultured courtesan to maintain. She is the object of jealousy by the young man’s cousin, played by Oliver Platt. She is accused of being a witch – but is cleverly released from the charge, especially because of her contacts with so many of the men in the court who finally support her.
The film looks sumptuous, with costumes and décor of the period. There is a good supporting cast in very small roles including Naomi Watts, Moira Kelly and Jeroan Krabbe.
The film raises issues of morality, hypocrisy – and also issues about the nature of the church and its authority, the Inquisition, issues of witchcraft.
The film is not as strong as it could be, in terms of exploration of themes. However, with the performances and the look of the film, there is enough to reflect on on its historical and moral issues.
1.The title? The alternate title: The Honest Courtesan? The focus on the character of Veronica? Her status and profession in 16th century Venice?
2.Italian history, Venice in the 16th century, the re-creation of the period, the city, its splendour, canals, life on the canals, the palazzi? Interiors, homes, salons, gardens? Costumes? Sumptuous? The insertion of suggested action sequences, the battles against the Turks? The Inquisition? The musical score and the style of the period?
3.The film based on actual characters and events? A romantic perspective?
4.The opening, Venice, the information about the status of courtesans, as educated women, sexuality, their social status? Exploitation? The structures of society, expectations? Hypocrisies?
5.Veronica and her family, poverty, her relationship with her mother, sister, brother needing a commission? Her watching the courtesans? Watching Marco? In love with him? The impossibility of marriage?
6.Marco, rich, his family background, his society parents, their expectations, his engagement to Giulia? Unwilling but agreeing? His love for Veronica? A man about town with his cousin, Maffio?
7.The authorities of Venice, the role of the Doge, his presence in the salons, in the courts? Maffio’s uncle, his leadership? The ministers of state? The moral perspective? Corrupt or not? The threats of war? Malta, the Turks’ attack? The sea and Venetian trade? The arrival of the king of France, the alliance with him, his ships and the victory?
8.Veronica and her mother, her mother explaining her life to her, her persuading her to become a courtesan, the detail of the training, manner and bearing, etiquette, the library and the books, educated, her encounter with men? Poise? Veronica’s reaction, agreeing? Her being presented in society? The minister and his choice of her? The card game? Seeing Marco? The night with the minister?
9.The possibilities for her life, old maid, convent? Courtesan supporting her poor family? The effect on her?
10.In the salons, her skill at poetry, her competitiveness with Maffio, the response of the audience? Maffio’s jealousy, the swordfighting with Veronica? His humiliation? His being converted to religious extremism? Arresting Veronica, prosecuting her at the Inquisition? His humiliation and defeat?
11.Veronica and her life, her relationship with Marco, Marco and his wife, her silence, being proper?
12.Veronica’s sister, her marriage and the ceremony, an arranged marriage? Her child, her sister telling Veronica she wanted her to be a courtesan? Discussion of whether being a courtesan was a prison or not?
13.The menace of the Turks, the arrival of the king of France, young, his reaction to the Venetians, wanting to see the courtesans, charmed by Veronica, with her, their parrying the discussions, his sexual proclivities? His decision to aid the Venetians? The city’s gratitude to Veronica?
14.The battles, plague in Venice, the deaths? The wives wanting news of their husbands, their anger with Veronica, Veronica giving them the news?
15.Marco’s return, Veronica’s arrest, Maffio and his prosecution?
16.The Inquisition, the trial, the hard and harsh inquisitor? Accusations of being a witch? Interpreting her life as a courtesan as witchcraft? The defence of the alleged innocent husbands of Venice? The Doge presiding? Marco urging her to repent and save herself? Her decision, confessing her life in court, the ritual of the confession, Marco and his interventions, his confessing? Her sister calling out in support? Marco inviting the husbands to stand, the minister standing, the others, the accusation to the cardinal? The solution that it be referred to Venice as a civil matter rather than as a religious inquisition matter?
17.The picture of an age, seemingly orderly, marriage as contracts rather than, as her mother said, eternal trysts? The structure of society, its double standards of morality?
