On the surface, one would think that "Total Eclipse" would work as a film. A young and very gifted poet Arthur Rimbaud (played by Leonardo Di Caprio who looks the part, but cannot quite play it) is invited to Paris by Verlaine (Thewlis) and they become lovers and work together on some of the most revolutionary verse the literary world has ever known.
Yet the problem with "Total Eclipse," from acclaimed Polish film-maker Agniezka Holland, is that its focus is all wrong. What makes Arthur Rimbaud and Verlaine fascinating are not their personalities, but their poetry. If the film focused on that, then it probably would have worked. Instead, this film narrate Rimbaud and Verlaine's cruelty at the expense of their literary contributions. This unpleasantly sadistic dynamic sometimes leads to some of the most lively and inspired scenes, such as when Verlaine ditches his wife and her mother at the train car and escapes with Arthur Rimbaud. But more often than not, Rimbaud and Verlaine come across as obnoxious bores. Since the victims of their malice are usually nice people, it becomes even harder to like or understand Rimbaud or Verlaine.
Some might defend this picture by saying that Rimbaud and Verlaine were living life to the fullest. But living life to its fullest is not particularly thrilling, when it involves Rimbaud stabbing Verlaine's palm; Verlaine beating his pregnant wife and setting her hair on fire; and Rimbaud belching endlessly. If Holland is going to make a good film on this theme, then why not take two flamboyant people (like Rimbaud and Verlaine) and send them to Africa or another colourful part of the world where they can incorporate their life experiences into their poetry. That would be a more interesting film. Unfortunately, we get all this unpleasantness instead.
Yet the problem with "Total Eclipse," from acclaimed Polish film-maker Agniezka Holland, is that its focus is all wrong. What makes Arthur Rimbaud and Verlaine fascinating are not their personalities, but their poetry. If the film focused on that, then it probably would have worked. Instead, this film narrate Rimbaud and Verlaine's cruelty at the expense of their literary contributions. This unpleasantly sadistic dynamic sometimes leads to some of the most lively and inspired scenes, such as when Verlaine ditches his wife and her mother at the train car and escapes with Arthur Rimbaud. But more often than not, Rimbaud and Verlaine come across as obnoxious bores. Since the victims of their malice are usually nice people, it becomes even harder to like or understand Rimbaud or Verlaine.
Some might defend this picture by saying that Rimbaud and Verlaine were living life to the fullest. But living life to its fullest is not particularly thrilling, when it involves Rimbaud stabbing Verlaine's palm; Verlaine beating his pregnant wife and setting her hair on fire; and Rimbaud belching endlessly. If Holland is going to make a good film on this theme, then why not take two flamboyant people (like Rimbaud and Verlaine) and send them to Africa or another colourful part of the world where they can incorporate their life experiences into their poetry. That would be a more interesting film. Unfortunately, we get all this unpleasantness instead.