7.8/10
5,222
49 user 33 critic

La belle noiseuse (1991)

Unrated | | Drama | 4 September 1991 (France)
The former famous painter Frenhofer revisits an abandoned project using the girlfriend of a young visiting artist. Questions about truth, life, and artistic limits are explored.

Director:

Writers:

(scenario), (scenario) | 4 more credits »
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5 wins & 6 nominations. See more awards »
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Cast

Cast overview:
...
Edouard Frenhofer
...
Liz
...
Marianne
...
Julienne
David Bursztein ...
Nicolas
Gilles Arbona ...
Porbus
Marie Belluc ...
Magali
Marie-Claude Roger ...
Françoise
Leïla Remili ...
La servante
Daphne Goodfellow ...
Deux touristes
Susan Robertson ...
Deux touristes
Bernard Dufour ...
La main du peintre
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Storyline

The former famous painter Frenhofer lives quietly with his wife in his countryside residence in the French Provence. When the young artist Nicolas visits him with his girlfriend Marianne, Frenhofer decides to start working again on a painting called 'La Belle Noiseuse', which he gave up a long time ago. And he wants Marianne as a model. The ensuing creative process will change the characters' lives. It will become a struggle for truth and meaning, and the question about the limits of art will arise. Written by Jens Bertheau <bertheau@mi-lab.fh-furtwangen.de>

Plot Summary | Plot Synopsis

Plot Keywords:

painter | artist | provence | model | art | See All (35) »

Taglines:

The torment of creating the naked beauty on canvas!

Genres:

Drama

Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

4 September 1991 (France)  »

Also Known As:

A Bela Impertinente  »

Filming Locations:


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Box Office

Opening Weekend USA:

$1,887, 26 November 2017, Limited Release

Gross USA:

$408,571
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

| (dvd)

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Frenhofer mentions a sculptor, Rubek, and his model, Irene, who both died in Norway. This is a reference to a play by Henrik Ibsen, 'When We Dead Awake'. See more »

Goofs

In Frenhofer's studio, the position of Marianne's legs changes between the long shot (right leg bent and forward) and close shot (left leg bent and forward) when Frenhofer is telling them that they will be unhappy as well. See more »

Connections

Version of Divertimento (1992) See more »

Soundtracks

Agon
Music by Igor Stravinsky
Performed by Sinfonie-Orchester des Südwestfunks (as Orchestre de Südwestfunk de Baden-Baden)
Conducted by Hans Rosbaud
(avec l'autorisation des disques Adès)
See more »

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User Reviews

 
not just arty twaddle
23 September 1999 | by See all my reviews

A young artist and his girlfriend run into an aging master who has not painted for many years. It emerges that he stopped in the middle of a painting of his wife which threatened to destroy his marriage. Why this should be so is not at first clear. Over time, however, as the young artist's girlfriend poses for the older artist so that he can finish the painting, it becomes apparent quite how emotionally demanding the artistic process is.

Many people seem to find this film boring or pretentious. It's a matter of taste I guess. I found the long sections of the artist sketching his model extremely compelling. Even if you can't imagine this, give the film a try. I have a friend who hates arty films, particularly if they're in a foreign language. His favourite film is the Rock, yet he started watching this (with the sole aim of seeing Emmanuelle Beart in the buff, which she is for most of the movie) and ended up sitting through the whole four hours. It has a genuinely hypnotic quality.

Aside from the debate about the art sections of the film, its content is superb. The characters are real, interesting and beautifully played. The Beart character in particular is a wonderful depiction of someone who is deeply scarred, but erects a powerful veneer of independence to protect herself. As the artist sketches her from every angle, he gradually gets under her defences, until her entire personality is exposed on canvas. I know this sounds really pretentious, but this film effectively argues that what marks out a masterpiece is that someone's soul - either the artist's or the model's - is put on canvas, and in the process, they and the people close to them are affected irrevocably. Ultimately, the only real flaw in this film is, I'm informed, that the sketches themselves aren't actually that good. If you're like me and have a limited sensitivity to such things, this shouldn't bother you. If not, try not to let it spoil a beautiful, rewarding and profoundly satisfying movie.


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