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| Oscar Isaac as Dante |
Julian Schnabel's In the Hand of Dante has been derided as the biggest cinematic fiasco since Megalopolis, but, as with the Coppola flick, I found it to be intriguingly uneven. Schnabel adapted the film, along with Louise Kugelberg, from Nick Tosches' 2002 novel. The novel itself is an extremely haphazard affair, alternating from sublimity to self-indulgence. Both novel and film tell parallel stories. In one, a fictionalized Nick Tosches becomes entangled with gangsters wrangling over some original Dante manuscripts. The other, weaker half of the film gives a cursory sketch of Dante's life and spiritual quest. Oscar Isaac plays both Tosches and Dante. Some other members of the cast double up with different roles in each segment, but Schnabel does not go whole hog Wizard of Oz on us. The Dante episodes are shot in beautiful color and within the Academy aspect ratio. The modern segment is shot in widescreen black and white. Schnabel and cinematographer Roman Vasyanov present us with a series of gorgeous images, but there is little in the way of narrative coherence.
Most of this is due to the defects of Mr. Tosches' novel. In the Hand of Dante marks the point in his oeuvre where the self inflation of the author's ego starts to obscure his real gifts. I esteem Mr. Tosches as much as any modern American writer, but for an author to parallel his own life with that of Dante struck me then, and now, as artistic hubris. Furthermore, Mr Tosches' portrait of himself is comical in its self-regard. The Tosches' character in the book and film is ridiculously expert in the most varied circumstances imaginable. He's an erudite scholar (Ok, I buy that one), an irresistible lover, a stone cold killer with a gun, and a debonair man about the world. He can bust chops with wise guys or parse ancient wisdom with Italian scholars. The plot of the novel is perfunctory, but allows room for Tosches' lively and learned digressions on a host of topics. Some of the best moments in the film feature Isaac's beautiful narration of Tosches' prose. I have been a devoted reader of Tosches since he started out in music journalism. If you want to sample the best of this peerless writer, I'd recommend Country, Hellfire, Dino..., and his first novel, Cut Numbers. In the Hand of Dante ranks with Under Tiberius at the bottom of Tosches' barrel.
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| Oscar Isaac as Nick Tosches |
Schnabel was and is, of course, a painter, and the screen pulsates with visual beauty. I dug the gorgeous shots of the sky, but there are a number of moments when the film's audacity tumbles into ludicrous folly. The most egregious example is the vision of Gal Gadot (playing Dante's wife and Tosches' gal) as Botticelli's Venus on the half shell. It registers as inane rather than breathtaking. Luckily, Schnabel has assembled an interesting cast that helps to animate this grandiose folly. Oscar Isaac ably captures the saturnine intensity of Tosches. He is a much better fit to the role than Johnny Depp who was originally attached to the project. When Isaac as Tosches cranks up Jumping Jack Flash, ingests pills, and slurps bourbon, he is able to conjure the Dionysian fury that lurked inside of the writer. Schnabel is enough of a New Yorker to excel at casting his wise guys and goodfellas. Al Pacino has a cameo that contains his best acting of this century. John Malkovich is always an asset, especially when, as in this film, he is not taking the proceedings too seriously. Best of all is the very affecting Louis Cancelmi.
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| Gerard Butler |
