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Very best movie i ever watch

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The movie really just wants to entertain people.

The last years of Modigliani's life in Paris 1919,this famous italian-french painter not match with greatest like Cezanne and Van Gogh but their paintings are so expensives nowadays which put him at high ground,the movie cover a few last years,he already condemned to die due the alcoolism,stayed some time in Nice near the sea to try to recover,back in Paris died still young 36 years old,sad end to true genius,neglected by many,today is honored...but too late!!!Great casting Lili Palmer.Anouk Aimée,Lino Ventura and Gérard Philipe as Modigliani.Resume:First watch: 2018 / How many: 1 / Source: DVD / Rating: 8.25

the temptation to see the film as one about Gerard Philipe is not small. and, in a way, it could be the basic motif for admire it. because it seems be a film for his admirers. a last word, testimony /legacy of great art. the close up, the dialogues, the reactions of Amedeo Modigliani are easy to define the last years of his interpreter. because, except that, "Les amants de Montparnasse" gives the same picture of damned artist, ignored by his contemporaries, single against the love story, fragile, vulnerable, strange. of course, a good recipes for public success. but, maybe, not the best. and this does it a homage to an unique French actor. and the beginning of the end of an age of cinema.

The Grim Reaper casts a long shadow over this film depicting the final declining months of Amedeo Modigliani - one of the giants of 20th Century art - who in January 1920 died in Paris in poverty of tubercular meningitis aged just 35. The original director Max Ophuls had died suddenly at the age of 54, and both his replacement as director and the film's star were dead within two years of its completion.Had Ophuls lived we would now be contemplating a very different film - probably in colour and alive with his trademark dolly shots. Having already shown the seamier side of the Belle Époque in 'Casque d'Or', Jacques Becker wasn't about to romanticise Parisian life after The Great War. In addition to making drastic changes to Henri Jeanson's script - which led to rows - Becker (who had just made his two worst films, both in colour, which put him off making a third), instead of lifting the soul by concentrating on the art as posterity's triumph over the life, as had 'Lust for Life', takes us on a bleak, monochromatic tour of the lower depths of Modigliani's cramped and thwarted mortal existence; his mental and physical decline reflected in Paul Misraki's sinister score.The film already carries an on-screen disclaimer that it takes liberties with historical fact; and good as they both are as the two doomed lovers, it's hard to believe the ethereal Gerard Philipe as the sort of brute who could possibly strike a woman, while Anouk Aimee looks more like a chic fifties left bank existentialist than a vulnerable little waif. A vibrant Lili Palmer, however, is spot on as Modigliani's bohemian ex-lover. Representing the art trade, Lino Ventura looks as if he's barged in from the set of 'Touchez Pas au Grisbi'; and the final shot of him greedily rifling through Modigliani's artistic legacy is not for the faint-hearted.

Every generation sees or thinks it sees things differently from previous generations; this film shows yet again that bohemian boorishness and temperamental talent is and was nothing new. If you're seen to be an Artist also being a fascinating penniless perpetual drunk yob can be acceptable, that troubled spirit is sometimes the price of Genius. Amedeo Modigliani was an Italian artist who died at 36 of TB in France, the almost impossibly handsome Gerard Philipe who played him here died the year after the film also at 36 of cancer, and director Max Ophuls died before production started – it makes this French-Italian co-production especially poignant.The story follows the last period of Modigliani's life about 1919, after he met and fell madly in love with fellow artist Jeanne Hebuterne, their trials, tribulations and tragedy. It's all done very well, definitely not as the elegant Ophuls would have done it (witness those clumsy tracking dancing scenes) with good black and white photography and great acting: basically no problems with any of it. However the end of the film was very different to the reality and bearing in mind it was fairly frank anyway I can't understand why the truth was jettisoned at the climax. Did Modigliani's daughter object? What actually happened was incredibly sad, brutal and even incomprehensible but still would have made more sense than the end to the film did. It turned a study in romance into a lesson in sordidness. But never mind, it was still an interesting journey into an Artist's troubled mind and life and the joy and pain he brought to those around him. I wouldn't hang one of Modigliani's hideous paintings up in my house unless I was paid a lot to; I prefer the film – because Beauty is either in the eye of the beholder or the owner.