The Belly of an Architect (1987)

Director:

Peter Greenaway

Writer:

Peter Greenaway (writer)

Release Date:

23 September 1987 (France)

Genre:

Drama

Plot:

An American architect arrives in Italy, supervising an exhibiton for a French architect, Boullée, who is famous for his oval structures...

Plot Keywords:

Stomach | Nudity | Cancer | Suicide | Surrealism

Awards:

1 nomination

Cast

Brian Dennehy	...	Stourley Kracklite
Chloe Webb	...	Louisa Kracklite
Lambert Wilson	...	Caspasian Speckler
Sergio Fantoni	...	Io Speckler
Stefania Casini	...	Flavia Speckler
Vanni Corbellini	...	Frederico
Alfredo Varelli	...	Julio
Geoffrey Copleston	...	Caspetti
Francesco Carnelutti	...	Pastarri
Marino Masé	...	Trettorio
Marne Maitland	...	Battistino
Claudio Spadaro	...	Mori
Rate Furlan	...	Violinist
Julian Jenkins	...	Old Doctor
Enrica Maria Scrivano	...	Mother

Also Known As:

Il ventre dell' architetto (Italy)

Runtime:

USA:118 min

Country:

UK | Italy

Language:

English | Italian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

UK:15 | Australia:M | Chile:18 | Finland:K-12 | Sweden:Btl | USA:R | Germany:12

Filming Locations:

Aurelian Walls, Rome, Lazio, Italy

Company:

Tangram Film

Goofs:

Factual errors: A little over 20 minutes in the movie, the main character Kracklite (Brian Dennehy) starts his xerox-obsession with pictures of bellies. He clearly opens the machine, keeps the picture in sight and then makes a copy. That's impossible, in copying the original should face the machine, not the hood.

Quotes:

Stourley Kracklite: All fascists are meat-eaters.

Movie Connections:

Referenced in The Tulse Luper Suitcases, Part 3: From Sark to the Finish (2003)

Greenaway Lite on Gravity

Why was this film made? Because someone talked Greenaway into trying to go mainstream. By this time, he had already made some of the most adventuresome films in history. This simple confection is sandwiched between `Zed and Two Noughts' and `Drowning by Numbers,' both of which are complex, intelligent, risky, erudite.

I can only imagine that he thought he could finance his serious work with a commercial success. Some might tag this as an accessible Greenaway film, but I hardly think it is Greenaway at all. Nor is the remarkable composer Nyman present.

All that remains are some lush compositions, studies in photographing monumental architecture, and these are pleasant enough. A subtext is fascist perfidy in architecture and the film takes a critical (visual) stance on Roman architecture. See here how all the buildings are from the emperors or Mussolini. No church architecture here which must have been a conscious omission for simplicity.

Everything about the physical fabric portrayed is dehumanizing, especially as compared to the containing space of the skin. As an architect myself, I can appreciate the message. It is a clever conceit, but it pales, utterly fades away, in comparison to his best: `The Falls,' and the `book' films.