Le Retour de Casanova (1992) - film review

Well into middle-age, Casanova finds himself wandering purposelessly in the South of France, accompanied by his ever-loyal valet Camille.  Weary and almost penniless, the legendary seducer yearns to return to his native Venice, but cannot do so until he receives written permission from the authorities.  One day, he meets Olivo, an old friend who invites him to stay in his country house.   Casanova gladly accepts and learns that Olivo’s wife, Amelie, is one of his former conquests.  Whilst Amelie tries in vain to rekindle his erstwhile passion for her, Casanova’s attentions are fixed on Marcolina, his host’s beautiful niece.  To Casanova’s horror and incredulity, Marcolina, a woman of rare intelligence and sophistication, fails to find him the least bit attractive.  It seems her heart is already given – to a dashing young military man named Lorenzi….

After a series of disappointments and doomed cinematic ventures in the late 1980s, iconic actor Alain Delon makes an unexpected return to form as an ageing Casanova in this lavish period production (a welcome change from the increasingly formulaic thrillers towards which the actor had been gravitating) .  It’s not too difficult to see the parallels between the waning fortunes of the famed Italian lover and the celebrated French actor as old age and obscurity beckon after a glorious and eventful career.  Alain Delon’s best days may have been behind him when he made this film, but, with perhaps a touch of self-conscious irony, he manages to turn in a creditable performance – one which conveys, with subtle poignancy, the tragedy of a man slowly waking up to the fact that he is – to put it crudely – just a bit past it.

Whilst the script could have been improved upon (to give more authenticity to the characters and the period they inhabit), the film’s production values are rather good - particularly the set design and cinematography, which bear all the hallmarks of a quality historical drama.   Alain Delon’s presence may dominates the film, but there are some notable contributions from a great supporting cast, including the priceless Fabrice Luchino (who plays Casanova’s fawning servant, the main comic element in the film) and the eye-catching Elsa Lunghini.    Edouard Niermans’s direction isn’t faultless but it avoids the obvious clichés and there are some occasional touches of brilliance.   Overall, the film is both entertaining and intellectually rewarding, and it gives you a real thirst to find out more about the much-maligned historical figure it sympathetically portrays.

© James Travers 2007

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