In his previous film Martin Eden, and now with Scarlet, Pietro Marcello has found a novel way to depict artistic striving, closely tying it with the concept of labor. It’s also something that runs through Jim Jarmusch’s Paterson, about the poetry-penning bus driver of the same name: both filmmakers have helped demystify our idea of the artist as a potential “great man of history” and the deification often accorded them. The would-be literary maven of Martin Eden and two artist-craftsmen of Scarlet are engaged instead in a noble struggle, a bit like the eternal workers’ struggle of Marcello’s other chief interest: that of leftist political thought.
Scarlet, a quasi-fairytale adapted from Russian author Aleksandr Grin’s Scarlet Skies, is a more even-tempered work than Martin Eden, and less likely to command the same ardor directed towards that film. But it finds Marcello acing another high-end literary adaptation,...
Scarlet, a quasi-fairytale adapted from Russian author Aleksandr Grin’s Scarlet Skies, is a more even-tempered work than Martin Eden, and less likely to command the same ardor directed towards that film. But it finds Marcello acing another high-end literary adaptation,...
- 5/18/2022
- by David Katz
- The Film Stage
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