‘Sin’ Review: Man of Marble

‘Sin’ Review: Man of Marble

“sin” Russian director Andrei Konchalovsky’s second feature to reach virtual theaters in recent months, and is not nearly as strong or important “Dear friends!” (Still available for rent). Sust, Demanding Sit, “Sin” – a Russian-Italian copulation with Italian dialogue – yet has a stubborn integrity in the quest for the competitive forces of patronage and creative inspiration facing Michelangelo in the 16th century.

The film depicts the period when Michelangelo (Alberto Testone) worked Tomb of Pope Julius II. After Julius’ death, the film’s Michelangelo agrees to make the commission exclusive, effectively establishing a conflict of interest: Julius was related to the Della Rovre family, a rival of Medicis; And Medicis, who now controls the Papacity, is ideally positioned to push Michelangelo forward. (People familiar with the players will definitely opt out of the film.)

Forever requesting money, promise to meet impossible deadlines and ranting about other artists (“He knows nothing about sculpture!” He bluffs more than once to Rafael) , Michelangelo reveals more luck than strategy in pursuing his single-minded artistic! Ambitions. Half or perhaps completely insane, and unknowingly, he talks loudly to Dante from his inspiration.

The emphasis is on suffering, not ecstasy – and certainly not on cleanliness. Moviegoers can duck to avoid being hit by a waste. The film gets its pulse and an image, capturing the horrors of the artist’s obsession, when Michelangelo takes the Herzogian task of transporting an intact block of marble from a straight-trench mine to the low ground in Carrara. Even the lives of others will not stand in his way.

sin
Not rated. In Italian, with subtitles. Running time: 2 hours 14 minutes. On Film Forum’s Virtual Cinema.



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