I don't know how this ended up with such a middling rating. It stands out as one of the wittiest, strangest and well-constructed films I've seen in years. Well photographed, with many characters wonderfully and unexpectedly acted. Appropriate for almost any mood, occasion or atmosphere.
41 Reviews
Great fun!
closefriend13 October 2005
Great bawdy fun! This has a lot to enjoy and we did. If you like delightful actors letting out all the stops as they clearly enjoy going over the top, or good, often excellent wit and writing, see this movie. They had lots of fun with humorous sexuality, very interesting sets, costumes and visual moments that stay in the mind.
If you've ever taken an acting class, wanted to be on stage or known an actor with a larger than life ego and personality whom you couldn't help but love (even when you wanted to throttle him/her), this movie is for you. "Illuminata" is a real treat that we had never heard of before borrowing it from our local library. I hope you enjoy it nearly as much as we did.
If you've ever taken an acting class, wanted to be on stage or known an actor with a larger than life ego and personality whom you couldn't help but love (even when you wanted to throttle him/her), this movie is for you. "Illuminata" is a real treat that we had never heard of before borrowing it from our local library. I hope you enjoy it nearly as much as we did.
Inside the "theater", but not too inside.
cowboy-2715 August 1999
Wonderful characters, glib and meaningful dialogue, a portrait of theater and its denizens so complete you believe the film is a biography.
There are no small actors here because there are no small parts. What might have been a cameo becomes a pivotal role.
It has been said that the film was missing direction. Not at all. What was happening there was style. This guys loves women and shape and color, and what he likes best is wit.
The entire cast....and that is everybody, was wonderful, so good you could smell the sweat. Camera and sets were so good you could hear floor boards creak. Music, well and tastefully done.
Recommendation: see it once for the discovery, twice for the appreciation, three times for the education. You will not be bored.
There are no small actors here because there are no small parts. What might have been a cameo becomes a pivotal role.
It has been said that the film was missing direction. Not at all. What was happening there was style. This guys loves women and shape and color, and what he likes best is wit.
The entire cast....and that is everybody, was wonderful, so good you could smell the sweat. Camera and sets were so good you could hear floor boards creak. Music, well and tastefully done.
Recommendation: see it once for the discovery, twice for the appreciation, three times for the education. You will not be bored.
Superb mesh of reality & theater
hayzlnut520 September 2006
This is something to watch! A beautiful soundtrack, an excellent cast, and untouchable screen writing! Comedy and drama are woven inextricably well together in it--though I'm of a mind to throw it into the comedy category as it is quite the gut-buster.
Tuturro is indefatigably adorable (literally) as per the usual custom, while his lovely long-time partner Borowitz achieves an austere yet at the same time sensual sort of emotional anchor in the film. Sewell, gorgeous as always, makes for an excellently vain and superficial thespian. Hilarity, however, takes the stage before all else, spinning itself into and around the players and the plot. Spinning around like clandestine lovers, 5-foot bureaus, and pale-faced Pieros--all swirling about between worlds behind and before the red curtain.
Old-timers Sarandon, Walken, D'Angelo, & Gazzara (a theatrical whore, a Wildean "macaroni queen", a stuffy unfulfilled power-wife, and an Old-Father Hubbard respectively) seem to enjoy taking a break from the rigmarole of Hollywood blockbusters and relaxing into the comfort of off-beat but positively unforgettable roles. Least forgettable among them, however, is Walken and his dance of seduction, which will most undoubtedly sear itself permanently into the back of anyone's brain.
Cates, Irwin, Bassi, Behar, Aida, Sussman, and McCann are all indispensable as well, even though I list them in shameful lump here; due time for each would have the film extended another 2 hours, but what is given of them still allows each thespian to shine superbly nevertheless. They are simply smaller gems in the treasure chest this film is.
Too many people have compared it to Shakespeare in Love and other mainstream films--but mainstream it is not. Don't bother to comment on it if you confuse it with them and disdain it insofar as it does not compare with them; you only show that you don't understand it. Understand in its stead that "not getting it" is okay. For those who say, "Poor Tuccio: he was so young, and so untalented," (:-D) know that for the rest of us, the film is almost flawlessly styled, each and every moment an essential thread of a tapestry, silk and gold studded in emeralds and rubies. Yeah, a lot like that.
Much like the play it centers on, Illuminata, it is hard for most people to understand it seems; one of its primary themes I would say, if it must be stated overtly, is that the imperfection of life prevails. But don't read too hard into that either, friend; the film "goes in the wind, like someone that knows their way," which is to say that it 'floats' along. But what many mistake for meaningless meandering is really its fluidity, its subtle weaving. It is a film meant to be enjoyed thoroughly, like fine wine, to use a cliché; an opportunity to cut loose and laugh at the absurdity of it all, life that is. Even the tragic heroine played by Borowitz, whom we all agree is most noble and flawless in the beginning, in the end we see, is flawed. Each of them: flawed. And that's okay; in fact, that's the point.
Thus, I give this a 10 out of 10 because I am satisfied in all respects with the film. Its soundtrack (which I bought), its cinematography (ooh la la), its cast (magnifico), plot (incandescent), and dialog (hilarious)--are all artfully interwoven, making it a gem unfortunately overlooked or misunderstood by the general public.
Oh, and by the way: the puppets are just meant to be pretty, friends. Representative in some instances of the scenes to follow, but for aesthetic effect mainly (kudos on the puppeteering & puppets themselves).
"Tuccio! Tuccio! Tuccio!"
Tuturro is indefatigably adorable (literally) as per the usual custom, while his lovely long-time partner Borowitz achieves an austere yet at the same time sensual sort of emotional anchor in the film. Sewell, gorgeous as always, makes for an excellently vain and superficial thespian. Hilarity, however, takes the stage before all else, spinning itself into and around the players and the plot. Spinning around like clandestine lovers, 5-foot bureaus, and pale-faced Pieros--all swirling about between worlds behind and before the red curtain.
Old-timers Sarandon, Walken, D'Angelo, & Gazzara (a theatrical whore, a Wildean "macaroni queen", a stuffy unfulfilled power-wife, and an Old-Father Hubbard respectively) seem to enjoy taking a break from the rigmarole of Hollywood blockbusters and relaxing into the comfort of off-beat but positively unforgettable roles. Least forgettable among them, however, is Walken and his dance of seduction, which will most undoubtedly sear itself permanently into the back of anyone's brain.
Cates, Irwin, Bassi, Behar, Aida, Sussman, and McCann are all indispensable as well, even though I list them in shameful lump here; due time for each would have the film extended another 2 hours, but what is given of them still allows each thespian to shine superbly nevertheless. They are simply smaller gems in the treasure chest this film is.
Too many people have compared it to Shakespeare in Love and other mainstream films--but mainstream it is not. Don't bother to comment on it if you confuse it with them and disdain it insofar as it does not compare with them; you only show that you don't understand it. Understand in its stead that "not getting it" is okay. For those who say, "Poor Tuccio: he was so young, and so untalented," (:-D) know that for the rest of us, the film is almost flawlessly styled, each and every moment an essential thread of a tapestry, silk and gold studded in emeralds and rubies. Yeah, a lot like that.
Much like the play it centers on, Illuminata, it is hard for most people to understand it seems; one of its primary themes I would say, if it must be stated overtly, is that the imperfection of life prevails. But don't read too hard into that either, friend; the film "goes in the wind, like someone that knows their way," which is to say that it 'floats' along. But what many mistake for meaningless meandering is really its fluidity, its subtle weaving. It is a film meant to be enjoyed thoroughly, like fine wine, to use a cliché; an opportunity to cut loose and laugh at the absurdity of it all, life that is. Even the tragic heroine played by Borowitz, whom we all agree is most noble and flawless in the beginning, in the end we see, is flawed. Each of them: flawed. And that's okay; in fact, that's the point.
Thus, I give this a 10 out of 10 because I am satisfied in all respects with the film. Its soundtrack (which I bought), its cinematography (ooh la la), its cast (magnifico), plot (incandescent), and dialog (hilarious)--are all artfully interwoven, making it a gem unfortunately overlooked or misunderstood by the general public.
Oh, and by the way: the puppets are just meant to be pretty, friends. Representative in some instances of the scenes to follow, but for aesthetic effect mainly (kudos on the puppeteering & puppets themselves).
"Tuccio! Tuccio! Tuccio!"
The Play's the Thing...
dr.bedlo31 August 1999
This film shines from the loving direction that Tuturro lavishes upon Brandon Cole's screenplay. The entire cast is delightful, with Katherine Borowitz's loving and tormented Rachel and Christopher Walken's sexually aggressive Bevalaqua truly standing out. It was great to see a film about the theatre done so passionately, after the dull and trite "Shakespeare in Love".
I was mesmerized by the performances. Tuturro, Borowitz and Sewell moved so seamlessly in and out of characters that you often felt that you were in "Illuminata".
This film reminded me with an equally remarkable film, Louis Malle's "Vanya on 42nd Street". I'm going to have fire up the laser disc player on that one tonight.
If you are a fan of the theatre or works on the theatre, then "Illuminata" is certainly going to work its magic on you.
I was mesmerized by the performances. Tuturro, Borowitz and Sewell moved so seamlessly in and out of characters that you often felt that you were in "Illuminata".
This film reminded me with an equally remarkable film, Louis Malle's "Vanya on 42nd Street". I'm going to have fire up the laser disc player on that one tonight.
If you are a fan of the theatre or works on the theatre, then "Illuminata" is certainly going to work its magic on you.
Exquisite (but not for everyone)
PaulineDorchester17 August 1999
This is the best film I've seen this year. I'll go further than that: it's better than all but a few films I've seen in the last two years, including "Shakespeare in Love." Does this mean that I am giving "Illuminata" a universal recommendation? Well, no.
If you love the theatre, go see this film immediately. Travel hundreds of miles to see it, if you have to. It will be a transcendent experience, and your faith in motion pictures will be strengthened (or restored).
If you don't feel one way or another about the theatre but enjoyed "The Golden Coach" or "Les enfants du paradis," you'll enjoy "Illuminata" just as much.
On the other hand, if you don't like the theatre, or if you want your movies to have something to do with Real Life...well, let's just say that "Illuminata" will be wasted on you.
On that note, it's worth pointing out that "Illuminata" takes place at an important moment in the history of western theatre. The screenplay doesn't dwell on it, but the film is in some ways a chronicle of the struggle between symbolism and naturalism that took place during the last quarter of the 19th century and the first years of the 20th. Our hero, Tuccio, has written a symbolist drama reminiscent of Maurice Maeterlinck's "Pelleas et Melisande," while the owners of the theatre want to produce "Hedda Gabler," by the naturalist Henryk Ibsen.
On film, a compromise is reached. In life, naturalism won out. Our stages are dominated by the likes of Ibsen, Chekhov, and Miller; contemporary plays look oddly like sitcoms.
Support the fight against naturalism -- see "Illuminata."
If you love the theatre, go see this film immediately. Travel hundreds of miles to see it, if you have to. It will be a transcendent experience, and your faith in motion pictures will be strengthened (or restored).
If you don't feel one way or another about the theatre but enjoyed "The Golden Coach" or "Les enfants du paradis," you'll enjoy "Illuminata" just as much.
On the other hand, if you don't like the theatre, or if you want your movies to have something to do with Real Life...well, let's just say that "Illuminata" will be wasted on you.
On that note, it's worth pointing out that "Illuminata" takes place at an important moment in the history of western theatre. The screenplay doesn't dwell on it, but the film is in some ways a chronicle of the struggle between symbolism and naturalism that took place during the last quarter of the 19th century and the first years of the 20th. Our hero, Tuccio, has written a symbolist drama reminiscent of Maurice Maeterlinck's "Pelleas et Melisande," while the owners of the theatre want to produce "Hedda Gabler," by the naturalist Henryk Ibsen.
On film, a compromise is reached. In life, naturalism won out. Our stages are dominated by the likes of Ibsen, Chekhov, and Miller; contemporary plays look oddly like sitcoms.
Support the fight against naturalism -- see "Illuminata."
Like a richly-colored Persian carpet
pjpaix1 September 1999
John Turturro has created an intelligent, witty (and funny!), movie. Christopher Walken's Bevalaqua will become a classic role in film. There's so much going on - nods to literature, other films, music and theater. We found ourselves talking about it again and again. Even if everything that Turturro attempts doesn't work, you're happy he tried it. If you like a movie where there are many interleaved themes, this is for you.
Puppets Talk Back
tedg4 September 2000
Superficially about love (isn't everything?) this effort really concerns itself with a recurring question in theater: how important are the actors?
In recent years, there have been a dozen or so movies by actors that deal with this and insist they are paramount. The most entertaining (in a camp way) is "Wag the Dog," perhaps the most intelligent "Vanya on 42nd St" and the most interesting Branagh's "Midwinter's Night." The most financially successful is "Shakespeare in Love."
This is not a sex farce, nor about love. That's all just grist for motion. Here we have a message from the "puppets," underscored by pleasant framing of the film by puppets. What the writers of this work have done is suggest that the life of any play comes from the lives of the actors. This is in contrast to plays written by genius playwrights like Ibsen, that are merely "performed." For this troupe to have to participate in such an enterprise is seen as hell.
Thus we have their (thinly distilled) lives appear on the stage. Along the way we have an audience that is purely incidental since they don't know what's good anyway. We have the theater owner who likewise is ignorant, but married to a failed thespian who suspects. We have the all-important critic whose real interesting characteristic is not his flamboyant gayness, but his views on art: he values writing, values the fulfillment of the author's intent. So he is particularly vulnerable to being abused. The character is a parody of Wilde who came down strongly on this controversy.
We have the vain celebrity (Sarandon) who does not have the commitment to the art of acting. She briefly tempts our author who really in his heart loves and respects the actors, here represented by the head of the troupe. Sarandon has a speech where she claims she loves the art, but it is clear she loves herself only. Is she a parody on Ellen Terry? Walkin and Sarandon clearly as actors believe in the supremacy of the actor, so in playing the "bad guys" they overly ham it up so that we know where they really stand. In so doing, they undercut their purported honor somewhat. Rather unsettling, especially so since they are amusing at it.
And we also have the troupe itself. They do double duty here: first showing honest commitment. Second providing the material that appears in the play, each representing a distinct stereotype. Wheels turn, people love and not, die and not. This strange crew (and any like it) we are told is worth it despite the strangeness. Along the way many writers are quoted from the Greeks through Chekhov. This is not new stuff, as noted above, but once you know what it is about it is well enough done. However, there is only so much reward one can get, the work can only go but so deep when it is turned over to actors. See where I stand?
If you come looking for a sex farce where the theater is incidental, your mistake will lead you to disappointment as it clearly did many who commented before me.
In recent years, there have been a dozen or so movies by actors that deal with this and insist they are paramount. The most entertaining (in a camp way) is "Wag the Dog," perhaps the most intelligent "Vanya on 42nd St" and the most interesting Branagh's "Midwinter's Night." The most financially successful is "Shakespeare in Love."
This is not a sex farce, nor about love. That's all just grist for motion. Here we have a message from the "puppets," underscored by pleasant framing of the film by puppets. What the writers of this work have done is suggest that the life of any play comes from the lives of the actors. This is in contrast to plays written by genius playwrights like Ibsen, that are merely "performed." For this troupe to have to participate in such an enterprise is seen as hell.
Thus we have their (thinly distilled) lives appear on the stage. Along the way we have an audience that is purely incidental since they don't know what's good anyway. We have the theater owner who likewise is ignorant, but married to a failed thespian who suspects. We have the all-important critic whose real interesting characteristic is not his flamboyant gayness, but his views on art: he values writing, values the fulfillment of the author's intent. So he is particularly vulnerable to being abused. The character is a parody of Wilde who came down strongly on this controversy.
We have the vain celebrity (Sarandon) who does not have the commitment to the art of acting. She briefly tempts our author who really in his heart loves and respects the actors, here represented by the head of the troupe. Sarandon has a speech where she claims she loves the art, but it is clear she loves herself only. Is she a parody on Ellen Terry? Walkin and Sarandon clearly as actors believe in the supremacy of the actor, so in playing the "bad guys" they overly ham it up so that we know where they really stand. In so doing, they undercut their purported honor somewhat. Rather unsettling, especially so since they are amusing at it.
And we also have the troupe itself. They do double duty here: first showing honest commitment. Second providing the material that appears in the play, each representing a distinct stereotype. Wheels turn, people love and not, die and not. This strange crew (and any like it) we are told is worth it despite the strangeness. Along the way many writers are quoted from the Greeks through Chekhov. This is not new stuff, as noted above, but once you know what it is about it is well enough done. However, there is only so much reward one can get, the work can only go but so deep when it is turned over to actors. See where I stand?
If you come looking for a sex farce where the theater is incidental, your mistake will lead you to disappointment as it clearly did many who commented before me.
Illuminating!
LollyblueCat17 June 2006
Brilliantly directed and acted, although not very popular movie. For those who don't now how it's like to work and live in the theatre this movie explains it all. It's charming and bewitching, incredibly funny and romantic and above all very truthful. This is a masterpiece! Made by a man who knew what he was doing and who obviously spent a lot of his time on stage. The most important thing in one actor's life is love, which inspires him to create. Tuccio is in his middle age crisis and he wrote a play about a husband who leaves his wife for a much younger woman. The play is very modern for that time and nobody seems to understand it, except Tuccio's wife who knows about his affair with popular actress Celimene. Christopher Walken is terrific in his role of gay-critic Bevalaqua! In few words - YOU MUST SEE THIS FILM!
dull backstage drama
Buddy-5131 January 2000
"Write what you know about" has long been the dictum for writers ranging all the way from accomplished published authors to struggling composition class students; is there a playwright then who can resist the temptation to compose a play about composing a play? It has, of course, been done countless times in the past ("Shakespeare in Love" being but the most recent popular example), but, alas, rarely as dully as in "Illuminata," Brandon Cole's tale of a turn-of-the-century repertory company struggling, amid personal conflicts, theatrical roadblocks and even death, to produce an original work (itself entitled "Illuminata"). Cole, along with co-writer and director, John Turturro, centers his story on the playwright, Tuccio, (also played by Turturro), as he copes with temperamental actors, theatre owners and critics, all of whom conspire, intentionally or unintentionally, to sabotage his work.
Like so many films that attempt to deal seriously with the creative process, "Illuminata" seems naively to suggest that inspiration can only be achieved after the creator has undergone a series of concomitant life experiences that somehow illuminate the truths hitherto obscured in darkness. Thus, since, in this case, the play-within-the-play deals with the issue of marital infidelity, it is only after the entire cast and crew of the production have participated in a night long sexual roundelay (which consists essentially of switching partners in a style too cute for words) that the play (which failed in its first performance the night before) can come to complete artistic fruition. This cloying and cliched view of theatre as merely a reflection of life (or vice versa) might have been acceptable had the script provided any truly interesting characters, profound insights or satiric wit to carry us through. As it is, though, the characters are both unappealing and woefully underdeveloped, the insights consist of mere self-indulgent paeans to the glory of artistic creation and the humor rests mainly in a series of surprisingly crude illustrations of sexual activity. Furthermore, Turturro is such a dull, uninspiring lead, with his constant sadsack expression and look of pained bewilderment, that he conveys no sense of the dynamism essential to a person capable of producing a work of genius. This leaves the rest of the cast, some of whom are very good, pretty much adrift as they thrash about looking for something solid in the way of character development to hold onto.
Actually, the highlight of this film comes during the opening credit sequence, a beautifully done marionette performance that is almost heartbreaking in its otherworldly beauty and delicacy. It is a measure of the failure of the rest of the film that the audience wishes IT were performed by marionettes as well.
Like so many films that attempt to deal seriously with the creative process, "Illuminata" seems naively to suggest that inspiration can only be achieved after the creator has undergone a series of concomitant life experiences that somehow illuminate the truths hitherto obscured in darkness. Thus, since, in this case, the play-within-the-play deals with the issue of marital infidelity, it is only after the entire cast and crew of the production have participated in a night long sexual roundelay (which consists essentially of switching partners in a style too cute for words) that the play (which failed in its first performance the night before) can come to complete artistic fruition. This cloying and cliched view of theatre as merely a reflection of life (or vice versa) might have been acceptable had the script provided any truly interesting characters, profound insights or satiric wit to carry us through. As it is, though, the characters are both unappealing and woefully underdeveloped, the insights consist of mere self-indulgent paeans to the glory of artistic creation and the humor rests mainly in a series of surprisingly crude illustrations of sexual activity. Furthermore, Turturro is such a dull, uninspiring lead, with his constant sadsack expression and look of pained bewilderment, that he conveys no sense of the dynamism essential to a person capable of producing a work of genius. This leaves the rest of the cast, some of whom are very good, pretty much adrift as they thrash about looking for something solid in the way of character development to hold onto.
Actually, the highlight of this film comes during the opening credit sequence, a beautifully done marionette performance that is almost heartbreaking in its otherworldly beauty and delicacy. It is a measure of the failure of the rest of the film that the audience wishes IT were performed by marionettes as well.
Disjointed, failed film with great moments
GeorgeC13 September 1999
I went into this film really wanting to like it - it headlined a film festival earlier in the year, and boasted an all-star cast. But (and you could tell there was a "but" coming) it's a failure of a film. Outstanding character acting by Sarandon and Walken is destroyed by editing and the antics of the supporting cast. Turturro's performance is lackluster, and most of the comedy is overplayed. The recurring puppet shows are pointless, and a few scenes are completely out of place.
That said, there are some wonderful moments sprinkled in the film. A genuinely touching stage moment, several of the seductions, and a few of the comedic color actually work out. Unfortunately, they're overshadowed by the diffuse, incoherent script and some bad acting.
That said, there are some wonderful moments sprinkled in the film. A genuinely touching stage moment, several of the seductions, and a few of the comedic color actually work out. Unfortunately, they're overshadowed by the diffuse, incoherent script and some bad acting.
Absolutely Beautiful
honeyx22 June 2001
Illuminata is a lovely existential commentary on the relationship between art and reality. There is a stream of Buddhist thought throughout the film that was wonderful to behold. The sets and lighting are beautiful and nearly every shot could have been framed and hung on a wall. The writing and acting were excellent. This movis is a very rare find... I'd highly recommend it to people who enjoyed other colorful philosophical works such as SLC Punk.
A dull film with a good cast.
fedor87 January 2007
Warning: Spoilers
Best around the middle, when most characters get horny and go after someone they haven't had before. It is around this point that we get to see Susan Sarandon's majestic breasts (even if through a veil). Strangely enough, Beverly D'Angelo who isn't shy about nudity doesn't show any at all, while Aida Turturro of all people does. On the other end of the spectrum, the less said about Walken playing a homosexual the better. The film itself has little plot; the dialogs from the theater play and the "normal" dialogs cross over often and that's not the sort of thing I'd consider a good idea. Life in the theater: who cares? Occasionally the dialog has something going for it, but the film drags in stretches.
Murky
rps-218 August 2000
I don't mind the odd artsy film. But when they are larded with arcane symbolism and murky dialogue and when it's obvious they were done for the filmmaker's ego rather than the viewer's benefit, I get upset. I'm not a stupid person yet I simply didn't understand what this film was trying to say. Or do. Film is a magnificent form of human communication. Why do some filmmakers use it instead for obfuscation?
Meandering story dreadfully done.
FlickJunkie-223 January 2000
'Illuminata' has expanded the limits of John Turturro's mediocrity from second rate actor to third rate director, writer and producer. This film was dreadful. It is disjointed and flits from scene to scene with little flow or meaning relevant to the main story line.
We are served with a smorgasbord of fragmented scenes, each a non sequitur to all the others. The only thread that seems to run through them is that they occur in the lives of the members of the same theatre repertory company. The few scenes that do matter to the plot are so convoluted that you frequently can't tell if the dialogue is from the story or the actors running their lines for the play within the story.
If this story were a person it would be a schizophrenic with mulitple personality disorder. It couldn't decide if it was a drama, a romance, a comedy, a tragedy, a sex farce, or a parody of theatre. It came closest to being bearable as a sex farce.
Turturro was lifeless and impassive as Tuccio, supposedly a complex and passionate writer whose play gets its big chance when the currently running show needs to be cancelled due to the illness of the lead actor. Susan Sarandon gave a good performance as the aging actress trying to seduce Tuccio for a role. Unfortunately, she found it necessary to go topless which only goes to illustrate that the hardware of aging sex symbols is much better left to the imagination. Christoher Walkin gave a delightful performance as the uppity theatre critic who makes impassioned overtures to a member of the cast. Beverly D'Angelo and Ben Gazzara also had minor roles.
I gave this film a 2. Other than Walken's vignette, there is really not much to recommend it except that the puppets used in the opening and closing credits were phenomenally lifelike and beautiful. Avoid this movie like the plague that it is.
We are served with a smorgasbord of fragmented scenes, each a non sequitur to all the others. The only thread that seems to run through them is that they occur in the lives of the members of the same theatre repertory company. The few scenes that do matter to the plot are so convoluted that you frequently can't tell if the dialogue is from the story or the actors running their lines for the play within the story.
If this story were a person it would be a schizophrenic with mulitple personality disorder. It couldn't decide if it was a drama, a romance, a comedy, a tragedy, a sex farce, or a parody of theatre. It came closest to being bearable as a sex farce.
Turturro was lifeless and impassive as Tuccio, supposedly a complex and passionate writer whose play gets its big chance when the currently running show needs to be cancelled due to the illness of the lead actor. Susan Sarandon gave a good performance as the aging actress trying to seduce Tuccio for a role. Unfortunately, she found it necessary to go topless which only goes to illustrate that the hardware of aging sex symbols is much better left to the imagination. Christoher Walkin gave a delightful performance as the uppity theatre critic who makes impassioned overtures to a member of the cast. Beverly D'Angelo and Ben Gazzara also had minor roles.
I gave this film a 2. Other than Walken's vignette, there is really not much to recommend it except that the puppets used in the opening and closing credits were phenomenally lifelike and beautiful. Avoid this movie like the plague that it is.
No plot
sanat8 January 2002
This movie has no plot. The acting is good, and the individual scenes are very well executed. However, there is no real plot line, and the pieces though individually pretty, do not form a whole.
The movie is a `behind-the-scenes' look at a drama company whose male lead Tuccio played by Turturro is not getting along with his lover, who is the female lead. There are a number of sub-plots, and essentially everyone want the two leads to get along and be in love. They also want the play to be a success. This is pretty much it. All sub-plot and no main one.
The movie is a `behind-the-scenes' look at a drama company whose male lead Tuccio played by Turturro is not getting along with his lover, who is the female lead. There are a number of sub-plots, and essentially everyone want the two leads to get along and be in love. They also want the play to be a success. This is pretty much it. All sub-plot and no main one.
disappointing
dkanter28 January 2000
While I'm normally a big fan of John Turturro's work as an actor and director, ILLUMINATA is a great disappointment. Although the film has some charming moments, overall it falls flat. Worst of all, the film is confusing. Where is the movie set? Italy or an Italian troupe in New York? Why bother making a historical film if it fails to convey a setting? If you want to see a well-made, inspiring historical film also about theater, go see Tim Robbins' THE CRADLE WILL ROCK. This movie has many pluses, including a fine performance by John Turturro.
Disappointing one-man show
moon-384 September 1999
This is one of the few movies I have had to escape by walking out. Others in the movie house did the same before me. This movie was boring, lacked coherence, relied on cheap jokes and gratuitous topless scenes and tasteless sexual innuendo. The whole thing just fell apart. I don't know how Susan Sarandon was talked into appearing in this.
I'm also tired of endless self-centered movies being made about actors doing acting or making plays or movies. The direction might as well have been phoned in. Most of this can be blamed on actor John Turturro who adapted this movie from a play and who co-authored the screenplay and co-produced and directed this disappointment. The only redeeming qualities, as I see it, were the set design and photography.
The reason I joined the IMDB database was to warn others about this waste of time and money. I have enjoyed Turturro's acting in past movies and that is where, in my opinion, his energies are best utilized.
I'm also tired of endless self-centered movies being made about actors doing acting or making plays or movies. The direction might as well have been phoned in. Most of this can be blamed on actor John Turturro who adapted this movie from a play and who co-authored the screenplay and co-produced and directed this disappointment. The only redeeming qualities, as I see it, were the set design and photography.
The reason I joined the IMDB database was to warn others about this waste of time and money. I have enjoyed Turturro's acting in past movies and that is where, in my opinion, his energies are best utilized.
A Ponderous Take on the Magic of the Theater and Actors
noralee7 October 2005
It's partly bad luck for "Illuminata" that it comes out after "Shakespeare in Love" as it deals with virtually the same themes of life as art, art as life and the Magic of the Theatre and the same archetypal Foibles of Theater Folk, but a whole lot more ponderously.
There are scenes that come alive, as a play develops and gets reinterpreted by a writer's life, but there's a whole lot of Orson Welles-ish ego in this produced by/directed by/lead acted by John Torturro as a vehicle for his wife Katharine Borowitz (with an adorable cameo by their son).
Each actor gets his/her moment literally in the spotlight, but there's so many "masques" or set pieces that seem like 19th century parlor games. Bill Irwin Talks. Susan Sarandon gets to be a diva. Christopher Walken gets to be a different kind of villain - a gay critic. The women have to disrobe unnecessarily because this is an Art Film.
The art and set direction are marvelous, though quite dark. This should get an award as the Best Use of a Jersey City Theater as A Set Ever In a Movie. (originally written 8/21/99)
There are scenes that come alive, as a play develops and gets reinterpreted by a writer's life, but there's a whole lot of Orson Welles-ish ego in this produced by/directed by/lead acted by John Torturro as a vehicle for his wife Katharine Borowitz (with an adorable cameo by their son).
Each actor gets his/her moment literally in the spotlight, but there's so many "masques" or set pieces that seem like 19th century parlor games. Bill Irwin Talks. Susan Sarandon gets to be a diva. Christopher Walken gets to be a different kind of villain - a gay critic. The women have to disrobe unnecessarily because this is an Art Film.
The art and set direction are marvelous, though quite dark. This should get an award as the Best Use of a Jersey City Theater as A Set Ever In a Movie. (originally written 8/21/99)
Well cured hams.
barberoux29 March 2000
An entertaining movie filled with fun acting but many must be accused of overacting. I'm not sure of the significance of the wandering plot and I'm sure that many theatre allusions went over my head. The puppets were really strange and spellbinding. They alone are worth seeing. I will watch for John Turturro movies in the future based on his performance as actor and director in this movie. A good, not great, movie for those who like engaging dialog.
Inferior Woody Allen
beptep22 January 2000
Does Turturro want to say something about theatre? Does he want to say something about love? Does he want to make a brilliant film like Woody Allen? Does he want to do all of these things? Probably. But he fails abysmally! The film is the most self-indulgent, pretentious piece of you-know-what I have ever sat through. The DVD version features a director's commentary. This one thinks will provide some glimmer as to what he thought he was doing. But no! Turturro and his young son chatter on in the most inane, inept, and ineffective babble ever recorded. Turturro should open a pizza parlor and leave film to artists. Who ever annoys me most this year will get this film for Christmas.
Sturdy film with moments of brilliance
peacham8 February 2000
Its very hard to describe this film. As far as backstage films go its not as emotionally stirring as The Dresser or as honestly funny as Noises Off, but there is a gentle humanity to the bergman like humor of the play. Unless you are in theatre,or even if you are, it demand complete attention to follow the film,but as you do,the more you like it.The direction of Mr. Turturro is splendid and he evokes some great performances from some wonderful actors. The late Donal McCann is wonderful in his comic role of the theatre owner's husband,It is very rare to see this fine actor doing comedy and He is one of the film's hifgh ponts,as is Christopher Walken as an Oscar Wilde like critic,Bill Irwin is also in fine form as the reluctant object of his affection. Turturro himself is wonderful in the key role of the playwright and its good to see Ben Gazzara on the big screen again. The film is far from perfect,it drags at times and there are momentsthat leave you saying, "what just happened?" but for overall effect its a good effort with a pleasing,if not brilliant ,product.
Not for "Private People"
johnclark-113 August 2004
Just saw this on TV. As a lifelong professional actor, and therefore of "the other world" (the other other world is everybody else, the "private people"), I want to say how it seemed to me to be made for actors only. Full of wondrous insights, dealing with the shallowness of actors, and their ever present self-concern that maybe where real life is concerned, they just don't "get it", but want to. (Hence our "method" approach to the craft.)
For me it has everything that I've never seen before in films that purport to be about the theatre, but in actuality pander to the ignorance of Private People about things of the theatre, and lie. These guys really don't care about that, but would rather stick to the truth. Yes, it's a huge "in" joke. Like the no-no of breaking up on stage, and destroying the fourth wall, not supposed to do that, it upsets the audience.
This exploration of that unreal world will always stand for me to be definitive. If you're one of the outsiders, don't bother, you won't understand. If this sounds elitist, it's not meant to be. Put it down to an actor's insecurity. But enjoy it for its beauty if you wish, don't look for more.
For me it has everything that I've never seen before in films that purport to be about the theatre, but in actuality pander to the ignorance of Private People about things of the theatre, and lie. These guys really don't care about that, but would rather stick to the truth. Yes, it's a huge "in" joke. Like the no-no of breaking up on stage, and destroying the fourth wall, not supposed to do that, it upsets the audience.
This exploration of that unreal world will always stand for me to be definitive. If you're one of the outsiders, don't bother, you won't understand. If this sounds elitist, it's not meant to be. Put it down to an actor's insecurity. But enjoy it for its beauty if you wish, don't look for more.
Catatonia
alanjj9 August 1999
The story is: a turn-of-the-century troupe of actors, along with producers and theatre-owners, have very complicated relationships. A resident playwright has written a psychological drama. He wants to get a good production on stage, but can't unless he convinces a pariticular reviewer to revisit the production, and give a positive review. If his production does not go on, then the troupe will put on The Doll House, recently written by Ibsen. Many different relationships among the principals are explored; none of them interesting. But the involvement of the characters with one another lead to giving the play by the resident playwrght a second shot.
This movie is purely an excuse for the director and his friends to get together and put on a movie. The story lines are incoherent to anyone who isn't a buddy of one of the stars. The only reason I didn't leave the theatre after about a half hour is that a fat lady was resting a full meal atop her stomach at the end of my row.
This movie is purely an excuse for the director and his friends to get together and put on a movie. The story lines are incoherent to anyone who isn't a buddy of one of the stars. The only reason I didn't leave the theatre after about a half hour is that a fat lady was resting a full meal atop her stomach at the end of my row.
Sad experience
Cirio29 April 1999
I agree with the comment the critic Bevalaqua (Walken was the best in the cast) made at the beginning of the movie (except for his appreciation for that actor). The originality isn't missing but it's all so boring and not entertaining at all.
I rent the movie and I watch it alone. The enterprise was hard but i managed to stay awake until the and. Although the theme is fundamentally the same "Illuminata" all that made "Shakespeare in Love" a great movie. The actors are all talented and professional but there are too many characters to care about and finally I cared about none of them. A sad and disappointing experience that I hope to forget soon.
Sorry, I just didn't like it.
I rent the movie and I watch it alone. The enterprise was hard but i managed to stay awake until the and. Although the theme is fundamentally the same "Illuminata" all that made "Shakespeare in Love" a great movie. The actors are all talented and professional but there are too many characters to care about and finally I cared about none of them. A sad and disappointing experience that I hope to forget soon.
Sorry, I just didn't like it.
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