Farinelli (1994)

Farinelli, is the artistic name of Carlo Broschi, a young singer in Handel's time. He was castrated in his childhood in order to preserve his voice. During his life he becomes to be a very ... See full summary »

Director:

Gérard Corbiau

Writers:

Andrée Corbiau (original scenario), Gérard Corbiau (original scenario)

Stars:

Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein

Nominated for 1 Oscar. Another 6 wins & 3 nominations.

Cast

Cast overview, first billed only:
Stefano Dionisi	...	Carlo Broschi (Farinelli)
Enrico Lo Verso	...	Riccardo Broschi
Elsa Zylberstein	...	Alexandra
Caroline Cellier	...	Margareth Hunter
Marianne Basler	...	Countess Mauer
Jacques Boudet	...	Felipe V
Graham Valentine	...	Prince of Wales
Pier Paolo Capponi	...	Broschi
Renaud du Peloux de Saint Romain	...	Benedict Hunter
Delphine Zentout	...	Young admirer
Omero Antonutti	...	Nicola Porpora
Jeroen Krabbé	...	Georg Friedrich Händel
Richard Reeves
Jonathan Fox
Jo Betzing	...	(as Josef Betzing)

Storyline

Farinelli, is the artistic name of Carlo Broschi, a young singer in Handel's time. He was castrated in his childhood in order to preserve his voice. During his life he becomes to be a very famous opera singer, managed by his mediocre brother (Riccardo).

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Plot Keywords:

bare chested male | male protagonist | secret | brother castrates brother | italy | 

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Taglines:

The bawdy adventures of Carlo Broschi.

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Genres:

Biography | Drama | Music

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Motion Picture Rating (MPAA)

Rated R for depiction of adult themes and sexuality

Details

Official Sites:

Sony Pictures Classics

Country:

France Italy Belgium

Language:

French Italian

Release Date:

17 March 1995 (USA)

Also Known As:

Farinelli (Il castrato)

Filming Locations:

Bayreuth, Bavaria, Germany

Box Office

Gross USA:

$2,122,948

Company Credits

Production Co:

Stéphan Films,MG,Italian International Film

Technical Specs

Runtime:

111 min

Sound Mix:

Dolby Dolby SR

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Belgium's official submission to the Best Foreign Language Film category for the 67th Academy Awards.

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Goofs

LIGHTING. In scenes that show stage lights and chandeliers, the focus on them is softened, but it can still be seen that the "lamps" and "candles" are in fact far too steady, and too smokeless, to be or to contain live flame. Gaslight was not brought into theatres until just after 1800 (in England), and limelight -- with real quicklime -- around 1820. Also, some outdoor lighting -- outside palaces, etc. -- is obviously too bright, blue- or green-shaded, smokeless, and sharp-edged to come from a bonfire.

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Quotes

Carlo Broschi: I admire your nerve, madame, in daring to defy Handel.
Countess Mauer: Women are very strong, signor Farinelli. Men's weaknesses make it necessary.

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Connections

Referenced in The 67th Annual Academy Awards (1995)

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Soundtracks

Lascia ch'io pianga
[Almirena's Solo: Act II, Scene IV, from Opera "Rinaldo"]
Composed by George Frideric Handel
Libretto by Aaron Hill, translated by Giacomo Rossi.
Vocals performed by Ewa Malas-Godlewska (Soprano) and Derek Lee Ragin (Countertenor)

User Reviews

A truly excellent historical reconstruction, and a brilliant film!

This remarkable film remains one of my favourites. The story line at first left me wondering why the director had chosen to make the film in the first place. Luscious scenery, beautiful costumes, sets, extravagant, but historically accurate stagings for the opera scenes, great language and dialogue - but why make a film about an all but forgotten singer from almost three centuries ago? Nothing in the film seemed to give a clue as to why anyone would go to all the bother of reconstructing a marvelous voice so painstakingly, and choose one of the great performers of our time to oversee the performances of the music. Repeated viewings did not seem to throw any light on the vexing question that, despite all the lushness and splendour I was still missing some point to the whole exercise. It was only on the third or fourth viewing that I noticed in the opening credits a small remark - in French - "to the memory of my daughter . . "name"". Suddenly the whole thing made sense. This marvelous and true story of the castrato is, perhaps, the directors attempt to describe his impotence in the face of the loss of his beloved child. Viewed in this light the ending of the film and the sequences in London between Farinelli and Benedict finally begin to have a poignancy and a sadness that is truly stunningly and sensitively achieved whilst adding to the story line. I love this film and cannot possibly recommend it enough. Any lover of Early Music should revel in it, but it has been lifted out of the ordinary and into the universal and sublime by that one small realization. Superlatives cannot do it justice.