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A great work of poetry based on a true story...

I thought this movie was amazing. I read some of the other comments, and I can see why some people wouldn't like it. I love period pieces, and this one was great. The only things that could have made it better were 1> Kate Winslet (corset Kate) and 2> LOSING OLIVER PLATT!!! He sucked thru the whole movie. I wanted to see this for a while, but I wasn't able to while it was still in theatres. I thought it was great on DVD. I really liked the fact that it was based on the true story of a 16th century courtesan. Yes, they were high class prostitutes, but they were cherished women. A different kind of love than you would give the wife of an arranged marriage, but loved beyond control all the same. If you love period pieces, RENT THIS TODAY! You wont regret it. I promise.

Modern sensibilities set in 1600s Venice

Read the Amazon editorial review, they are tiptoeing around saying this movie doesn't really work.


Modern language, ideas, and sensibilities make the whole thing feel like a contrived stage play. And it seems to be mostly on stage sets ... there isn't much of Venice in here, so don't rent it for that reason. (Notice I said rent ...)


The script is weak. The setup for the lead character's transition to life as a courtesan is abbreviated and unconvincing. There are too many horrible moments for this to be romantic. The story has so much more potential.

The only reason to see this movie is to check out Catherine McCormack. Rufus Sewell is always good as well.

Otherwise the casting is absurd. Fred Ward and Oliver Platt stand out as being miscast. Jacqueline Bisset fails to persuade here.

A State of Perpetual Meaningless

Spoilers herein.Doggone. This could have been a great film. It has a strong, charming redhead and Venice. It has a serious actor as the smitten lover. And it has an interesting (`true') story, the point of which is that passion is desirable: passion in life, in knowledge, in commitment, in creating your own reality. It has that actor's dream where a character becomes an actress, performing on many levels.But it is wasted. I continue to be astounded by movies with a clear message that are presented in a way that contradicts that moral. What's needed here is a highly articulated passion: a meld of refined mastery of the language, deep history of the art, risk all for the sensuality of it all. And what do we get? one of the least risky, most conservative, plain presentations in recent memory. It is as if the Church won and all movies with passion have to be passionless.Here we have one of the loveliest creatures in filmdom, and she is lit so badly it is a crime. She needs what was done for Cate Blanchett in `Elizabeth.' We have possibly the loveliest city on earth, and we see a lot of it in some presumably expensive shots. But we don't FEEL the richness of the architecture. Its a visceral experience, and one that can be done. `Wings of the Dove' merged redhead passion and Venetian lushness well, and it had a less apt story.This is a poor, inexperienced director, and it shows. The happy ending was a real disappointment too. Such a marvelous woman deserves to shame the Church for eternity by dying gloriously for her life. More studio boss meddling, those same types shown here as the Church. They damn themselves by their tepid handling of this.Ted's Evaluation: 2 of 4 -- Has some interesting elements.

Best Film with No Academy Nominations!

This film was either ignored or grossly mis-reviewed by the professionals. Contradicting what another, earlier reviewer has commented, the film is based on the book, The Honest Courtesan, which is not a novel, as so many reviwers claimed, but a biography. Veronica Franco really lived in 16th century Venice, and there is a portrait of her in a New England museum. Many of the characters in the film are mentioned in the book, which is a scholarly study of Franco and her times, and the basis of a PhD thesis. Some of the lines in the film are taken from the material in the book.

Although women had no rights, Falco subtly fought for such rights at the time. Her book of poetry was unique for that time and place ... the only one writtem by a woman. I am amazed that those in the women's rights movement did not catch on to this movie.

For me, Catherine McCormick's work was incredible, especially for a low-cost movie. In the film, she portrayed a wide range: an innocent teenager who fell head-over-heels in love, eventually suffering the terrible frustration of being unable to marry the man she loved; training to become a courtesan to support the family as a consequence of her father' death; working successfully, subtly, and politically as a courtesan; and eventually fighting for her life in a trial of the Inquistion. McCormick's face is incredibly expressive; focus on her face in every scene, even most especially the "skin" scenes (just ignore the skin!). Her acting covers a very broad range within this single film. I have to think back to Elizabeth Taylor, James Dean, and Rock Hudson in the very old film "Giant" to remember seeing such an acting range by one person in one film. McCormick played each part of her multi-dimensional role as well as any of the 1999 Oscar winners did, in their one-dimensional roles. Does anyone understand why this film was so poorly promoted or why the reviewers did not take the time to understand that the book was biographical and not fictional? Many of the movie features that were professionally critisized as being "unrealsitic" are documented in the book, from translations of Venitian documents available today in Venice museums (and both referenced and quoted in the book). In some cases, the movie did fill in details that were not provided in the book, but, for me, these added details appeared to be interpolation, rather than extrapolation. Can someone in the industry explain this remarkable, seemingly unjust situation?

Finally, those who have seen the film might like to know that the real Veronica Franco eventually had six children, four of whom lived to adulthood.

Breath Taking

This is by far my favorite movie of all time.

I saw this movie in college when I was learning about men and relationships. I definitely feel that it helped me have a better understanding about loving someone and it doesn't necessarily mean it will be under the correct circumstances.

I adore this movie.

A Historical Romance lush with Passion

A marvelous film that tells the tale of a beautiful Venitian woman (dangerous because of her intelligence as well as beauty) and her quest to fulfill the needs of her heart. We are immersed into a world of passionate and erotic love, but also are taken back in time to enchanting Venice. You will fall in love with this beautiful tale of romance and self-fulfillment. If you love historical romance, you will find this film enjoyable and unforgettable!

Dangerous Beauty

Absolutely beautiful. I loved this movie, Rufus Sewell was fabulous along with Catherine McCormack. I would highly recommend this film to anyone who appreciates a good romantic. 5 stars.

"Venice, proud and pretty..."

Almost everything about this film is "proud and pretty". The tender, sweet minstrelsy of the score composed by George Fenton opens the movie to the bold and brilliant reds and crimsons of the costumes and drapery. Half romance, half women's studies, this film emphasizes the power and danger of a woman's beauty, refinement, and intellect. Catherine McCormack is wonderful as Veronica Franco, an irrepressible young woman who is fascinated by the courtesans she sees gliding by in gondolas and flaunting their beauty in 16th century Venice. At the edge of the canals, the men of Venice are at their mercy, pleading and promising and tossing roses. Little does Veronica know that such a life awaits her. Absorbed in her books and poetry, she can only be distracted by the charms of Marco Venier (curly haired, luminous-eyed Rufus Sewell). Nonetheless, their love is not enough to overcome his family duty to marry well and according to his station. By a somewhat surprising teacher (Jacqueline Bisset), Veronica is tutored in the principles of seduction in the most amusing sequence of the film. "You must know pleasure in order to give pleasure." She herself is seduced into the world of courtesans by their unlimited access to political and cultural information not suitable for "ladies of quality". Only as a courtesan can she have knowledge, artistic freedom...and Marco

There are several lively scenes, especially with Marco's cousin, played by Oliver Platt. Veronica and he match wits and combine word play and sword play, as Veronica proves that she can participate in men's games and even occasionally best them. Although this film glorifies the prostitute, the difference is made painfully clear between the pitifully, ignorant "wives of Venice" and the enlightened courtesan in the dramatic scene in which Veronica answers a summons from her old friend (Moira Kelly). Is it better to be a virtuous yet sublimated wife or an enlightened yet exploited courtesan? The film argues for the latter, as women are humiliated in either role, as wife or courtesan. Is it not then better to take advantage of the basic freedoms of thought, speech and creative expression not encouraged for "ordinary" women? This deeper question lurks in the lavish background of ermine, peacock feathers and pearls, and is only partially resolved for one woman, Veronica Franco.

A POWERFUL PICTURE

It makes you laugh. It makes you cry. It makes you feel. It makes you think. It's hauntingly beautiful and hauntingly real. It takes the viewer on an emotional and cerebral journey that's 100% worth venturing on.

Beautiful, Powerful and Worthwhile......

This movie has a powerful message, amazing photography and wonderful acting by Catherine McCormack. It is a Must see for all women especially, in my opinion. It is like a good book.

Wonderful

I don't feel this film was so much an advertisement for prostitution, as it was an encomium to freedom. It wasn't that she had a "whore's freedom" that made her life better, but that she was free from "being a slave to her husband." The overall feeling of the movie didn't make me want to go work the corner, but to go be with the man I love, because I can. Because I'm free to.Anyway, just a little reply to the numerous posts claiming they felt it promoted prostitution.The film was wonderful, well scripted, and a real tear jerker. I can't wait to read "The Honest Courtesan" by Margaret F. Rosenthal now.

Entertaining fluff

The scenery is gorgeous, the sets and clothing lush, and the cinematography superb. Plus, the enigmatic Rufus Sewell as the leading man (and Catherine McCormack is not that bad either). The story, though, is another issue... It starts in a good note, but by the time Rufus leaves for the war in Cyprus, the plot thickens and goes downhill on its weight. It lost my interest. I did enjoy, though, the always reliable Moira Kelly (who should have had more screentime), and was amused by how little we saw of Melina Kanakaredes, Sid of NBC's Providence (I actually had to rewind to her scenes after reading in the credits which character she played!). Harmless fun, with a great cast. Don't expect more than that, though.

Beautifully done

This biographical film of the life of famed Courtesan Veronica Franco may take a few historical liberties but essentially it is a beautiful and telling depiction of the times.The simple storytelling and lack of to many historical contexts actually works in this film's favour, as it prevents the usual pitfall of the period flick - to much location not enough character.Any audience could understand the language and the situation of the Courtesan even if they knew nothing of the historic, social or economic history of Venice. One of the few films that depict Courtesans without falling into superficiality (Moulin Rouge) or near pornography (Karma Sutra)

Absolutely breathtaking - don't rent - BUY

I was probably one of 24 people who saw this sumptuous movie when it was in the theaters and I say pity on those who passed it by. This lush tale of women, men, lovers, spite and the holy church is fascinating to see. I initially questioned why a mother would encourage her daughter to become a whore. I quickly learned the difference beteen a prostitue and a courtesean. The love scenes were fantastic and Venice played its role extremely well. Buy -don't rent - this fabulous movie.

Engaging Story, Excellent Performances

There's a consistent moral thread that runs through every society from age to age and generation to generation, the tenets of which are established within parameters, and therefore subject to change; or more specifically, subject to a change in perspective. And that change can come very quickly-- veritably over night in some instances. There is also another constant that defines the human condition in any era, and as we find in `Dangerous Beauty,' directed by Marshall Herskovitz, it is the fact that an individual will do whatever is necessary to survive. It is simply an undeniable, irrefutable basic instinct of the human animal. Moral tenets and survival, however, taken as properties are something akin to oil and water, and will mix accordingly. Being more often than not polar opposites, conflict is inherent and will ultimately surface at some point or other, the outcome of which is determined by the strength of whichever perspective is prevalent at the moment. And it is at such moments that we discover that life, like politics, can be a sordid, unpleasant affair; or at the other end of the spectrum, the greatest gift of all. It's 16th Century Venice; Marco Venier (Rufus Sewell) is of a wealthy and powerful family, and is a Senator in good standing in the community. He is also in love with Veronica Franco (Catherine McCormack), who though intelligent and beautiful, is beneath Marco's station in society, and they are, therefore, forbidden to marry. Instead, Marco's father, Pietro (Jeroen Krabbe), has arranged a marriage for his son, an alliance that will be to the substantial benefit of both families. Veronica's family, meanwhile, due to prevailing circumstances must look to Veronica for support, so her mother, Paola (Jacqueline Bisset), not only arranges for Veronica to become a courtesan, but instructs her herself in the fine art of seduction and the kind of pleasures that will put the most coins in the coffers, as well as how to survive by being in love with `love.' For Veronica, it soon becomes a lucrative, if not fulfilling enterprise, but there are clouds forming on the horizon, the least of which involves an impending war with the Turks, a war they cannot win without the help of King Henry (Jake Weber) of France. Very quickly, life in Venice changes; Marco is off to war, and the formerly open acceptance of the courtesans undergoes a swift and drastic reversal of perspective among a seeming majority of those within the city. And once again Veronica's life is in flux; and she is about to find out that it will never be the same again. Nicely presented and beautifully filmed (the cinematography by Bojan Bazelli is exquisite), Herskovitz's film-- which is based on a true story and adapted from Margaret Rosenthal's novel by screenwriter Jeannine Dominy-- succinctly points up the moral hypocrisy that has always existed within any given culture or society, and which will continue to exist so long as there are social institutions and structures to support them. And the possible consequences of such diverse perspectives and attitudes, when zealously pursued, are effectively personified in the character of Maffio Venier (Oliver Platt), in whom we find the ultimate manifestation of moral decay, masked by platitudes of self-serving righteousness. Herskovitz also effectively uses the relationship between Veronica and Maffio-- initially a mutually agreeable rivalry; a contest of words which later turns aggressively ugly-- as a reflection of how readily one facet of society will turn on another if but afforded the appropriate circumstances. It's a film that works well on a number of levels, as on one hand it's a love story, while on the other it's an insightful dissertation on the inherent imperfections of society, and the fragile moral fiber that holds it together. In the title role, McCormack gives a solid performance; that Veronica is beautiful is obvious, but most importantly, McCormack conveys her intelligence, as well, and it makes her character three-dimensional and quite convincing. Interestingly enough, Veronica is a sympathetic character for whom, nevertheless, you do not necessarily feel sorry; and perhaps it's because she carries herself so well and has such a strong sense of `victory' about her, hiding any vulnerability that would make her susceptible to pity.
This is a woman who takes the detritus life throws at her and makes something of it-- and she does it with dignity. If her life is morally compromised, it is not due to any acquiescence on her part, but rather the need and the will to survive. This is a complex character who has to tread a number of fine lines, and McCormack plays it beautifully and believably. As Marco, Sewell hits his stride and turns in an excellent performance, as well. Marco is something of a pivotal character, in that Veronica's response to him and their relationship becomes the most telling expression of the effects of the courtesan life on her. And as the story unfolds, Sewell does a nice job of developing his character, finally achieving a depth of emotion that significantly heightens the impact of the climax. In supporting roles, both Platt and Bisset give notable performances, too.
Platt once again demonstrates that he is one of the best character actors in the business; and not only is Bisset exemplary in the role of Paola, but the casting of her and McCormack as mother/daughter was inspired. The supporting cast includes Moira Kelly (Beatrice), Naomi Watts (Guila), Fred Ward (Domenico), Joanna Cassidy (Laura), Peter Eyre (The Doge), Justine Miceli (Elena), Carla Cassola (Caterina), Michael Culkin (The Bishop) and Charlotte Randle (Francesca). As Michael Corleone said at one point, `We're all a part of the same hypocrisy;' and if there's a lesson to be learned from `Dangerous Beauty,' it's that one should not deign to pass judgment on another without first walking in that person's shoes. It also reminds us of the necessity of maintaining a proper perspective-- and keeping in mind that what's acceptable today may not be acceptable tomorrow. 8/10.

An incredible artful masterpiece!

What a great film! It actually shows some insight into the world of a Courtesan. If only a film could be made like this of the modern day courtesan! Of course, in the US, any type of call girl, mistress or escort is viewed as some sad drug addicted woman who needs serious help. (Kind of like poor ole Julia Roberts in Pretty Woman--she had to be saved by the oh so handsome Richard Gere. Please! Spare me!I think it has something to do with the Puritanical views that still are upheld in our country.... God forgive anyone who sins in the name a' da' lord! This film was wonderful; the scripts, actors, locations cinematography.A strong 9 out of 10.

3.5 stars

I equate watching this movie to reading a good romance novel. It's got a gorgeous "look", and most of the performances are fine (exception: Oliver Platt, particularly after his character becomes a priest; couldn't he come up with any other way to express repression than acting like a block of wood?)


I enjoyed the movie but I'm sorry I bought the DVD instead of renting it. Catherine McCormack gives a great performance, and the music and the scenery are really beautiful -- so I have a hard time criticizing it too much. Personally I could wish Rufus Sewell as the hero was just a little more handsome. Sometimes he looks great, but then his pop-eyed looks would distract my attention from the story.


I didn't feel caught up in the story or with these characters. It didn't feel as though the filmmakers took this woman's story too seriously; it seemed like they were treating it like a romance novel, and so...


I enjoyed this movie like a nice chocolate; remembered for a moment while the taste is still in your mouth, but the pleasure's gone and forgotten quickly.

excellent historical drama

I too really enjoyed this movie. I wish more people would see it, particularly teenagers, as this movie does have important historical (current?) themes, re the Church, women's historical subservient status, and the need to place blame (for the Black Death) somewhere, and who better than the successful courtesans. This movie has a purpose, without smacking you over the head with it. It's also lusciously beautiful.

"art " house yuppie garbage

Other than making smartass remarks about her betters, notably writer Stephen King to obscure internet movie magazines, Catherine McCormack will remain a minor actress in Eurotrash epics like this.

Dangerously Addicting

This is a movie to watch again and again without ever tiring of it. Catherine McCormack is seductively dazzling in her role as Veronica Franco. She will make you laugh and make you cry. Rufus Sewell makes you fall in love with Marco. The rest of the cast is superb bringing the audience a glimpse into a part of history that is not often looked at. This is a great movie to give as a gift as well as for a girls' night in with a glass of wine. The plot holds your interest till the very end and leaves you wanting to watch it again. This movie is one of my top 5 all time favorite movies! I highly recommend owning this movie so you can watch it when ever you want to.