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Casanova

Period pieces always run the risk of getting lost in their own bravado. The extravagant set design, costuming, makeup and spectacle might fetch honors among their respective circles, but only when one blends a true and timeless story to the architecture of a film like “Casanova” does true art occur. Without a fetching storyline and dialogue, the seamless costumes and sets become empty shells, a mere encasement without any real treasure underneath. Such is the downfall of director Lasse Hallstrom’s attempt to capture the romance and boorishness of old Venice.

Casanova’s conquests: wives, virgins, aristocracy, an entire nunnery; the possibilities are endless for Venice’s best-known playboy. A step ahead of the Inquisition, hell-bent on booking the romancer for debauchery and adultery, he goes from maiden to fair lass without batting an eye, wise with words and even wiser below the belt. He parades around town, content in corrupting the fragile minds of all womanhood. That is, until he is finally caught and sentenced to hang. A friend on the inside Il Doge (Tim McInnerny), saves Casanova from his untimely demise, but promises never again, at first commanding him to leave Venice, and then settling on finding a suitable wife for the time being. Casanova finds eligible bachelorette Victoria (Natalie Dormer) and the ball starts to role. The only problem is local boy Giovanni (Charlie Cox) has been eyeing Victoria for some time, and Casanova’s entrance merely complicates his reluctance to declare his love. Giovanni’s sister Francesca (Sienna Miller) also gets caught in the crossfire, along with fiancé Papprizzio (Oliver Platt). Thus begins our three or five-way love triangle.

But the film’s intrigue ends at its premise. Ledger, a far cry from more suitable character roles for him, relies too heavily on his dashing looks, which though charming and playful, does little to capture an audience outside the female lovelorn. He would be wise to take lessons from “The Phantom of The Opera,” whose charms lie beneath his unfortunate exterior. His costars add little to the overall feel of the film, which comes off as I stated above, an empty shell. Miller and Cox give a valiant effort, but ultimately appear inexperienced and lacking the charisma to pull off their monumental tasks. As viewers we sit in our seats and simply think of what could have been.

And indeed what could have been. The sets are well done, from the shingled rooftops to the famous canals and gondolas; even the indoor rooms are lavishly decorated with artful craftsmanship. Everything feels and seems as it should. It’s easy to believe we’re in old Venice. Costume wise the film is adequate, if not fittingly adequate. Nothing stands out too much to be unbelievable. The wigs are puffed and the capes and dresses are standard. Even the choreography of the swordfights seems realistic. The producers didn’t miss a beat with anything except the story and casting.

I imagine a slightly older actor playing Casanova, both in life experience and in his understanding the art of romance. If Antonio Banderas were more Italian looking I’d say we had a much better fit. But unfortunately, such is the case with Hollywood and celebrity. Ledger simply has a bit more growing up to do to really mesmerize in the role. In a few years, we’ll remember his turn in “Brokeback Mountain” as one of the classic performances of all time. “Casanova” will unfortunately fall by the wayside, an unfortunate side effect of yielding star power and reputation without experience.

Written by: Jason Villemez

Reviewers Rating: 5.5
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