Riccardo Scamarcio will return to cinemas starting from next November 3 when “The shadow of Caravaggio” will be screened: Scamarcio himself, who gives the painter a sanguine, intense and, rightly, over the top performance, warns in interviews that his Caravaggio, under the direction of Placido, turns into a real rock star ante litteram, because he was considered such at the time: cursed, charismatic, hated and loved like the rock legends who have so enchanted the generations closest to us. With the difference that at the turn of the sixteenth and seventeenth centuries, it was not possible to externalize, through one’s art, ideas and visions of the world that would enter into conflict with the dogmas of the Church. It is no coincidence that Caravaggio, during one of the numerous imprisonments for brawls and violent acts, meets Giordano Bruno (Gianfranco Gallo) in one of the most successful episodes of the film, waiting to be burned at the stake in Campo de Fiori. This is clearly a narrative license that the authors have taken. Although there is no evidence of an encounter between the two, the analogy between Nolan’s free and surprising thought with the indomitable and intolerant thought of Caravaggio’s clerical dictates is evident and happy, resulting absolutely consistent with the spirit that pervades the film. On the contrary, the moment in which Michelangelo holds the hand of Bruno is moving who, after having railed against the church, candidly and humanly admits that he is also afraid of death.
The plot of the film – directed by Michele Placido – talks about the story of Pope Paul V in 1610, who, 5 years after his election as Roman Pontiffs, gives orders to investigate Caravaggio sentenced to death for murder. The investigations are conducted by a man known as “The Shadow”. The film – also starring Louis Carrel, Isabelle Huppert, Micaela Ramazzotti and the director Placido himself – will be distributed in Italian cinemas by 01 Distribution (Photo: Courtesy of 01 Distribution )
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