Portrait of a Lady on Fire (2019) film review - feminism, art, and greek mythology
★★★★★
Set in France in the late 1700s, ‘Portrait of a Lady on Fire’ follows Marianne, a painter hired to produce the portrait of a young woman who is to be married off to a Milanese nobleman.
Director: Céline Sciamma. Starring: Noémie Merlant, Adèle Haenel, Luàna Bajrami, Valeria Golino. 15 cert, 120 min.
A recent contribution from French director Céline Sciamma, the romance/drama film ‘Portrait of a Lady on Fire’ has received a magnitude of critical acclaim. Set in France in the late 1700s, it tells the story of Marianne, a painter hired to produce the portrait of a young woman called Héloïse, who is to be married off to a Milanese nobleman. Héloïse is determined not to pose for the portrait and resents the idea of her marriage, so Marianne must produce it in secret. I must admit, I really didn’t think I would enjoy this film; but it surpassed all my expectations and managed to become one of my favourites of 2019. A beautiful film which captures a moment in time that creates something timeless, ‘Portrait of a Lady on Fire’ is imbued with classical references and meticulous details that make it an absolutely stunning watch.
‘Portrait of a Lady on Fire’ (2019) film poster artwork
Is ‘Portrait of a Lady on Fire’ A feminist work of art?
Described by many to be incredibly feminist, I was wary going into this film that it would be somewhat forceful in its deliverance, focusing too much on relaying its saccharine message. However, this is not the case. ‘Portrait of a Lady on Fire’ stands out with its strong female cast and tale of a relationship between two girls which is at once unconventional and incredibly believable. With striking cinematography and a leisurely pace, Sciamma’s work is understated but never banal as it illustrates the voyeurism of portrait painting and the blossoming of young love. There is a singular sense of permanence to this film, as art is utilised as a tool in capturing Marianne and Héloïse’s feelings for each other in a way that will outlive them both.
‘Portrait of a Lady on Fire’ opens with a scene showing Marianne, played by Noémie Merlant, teaching a painting class to a group of young girls. She appears sad and reflective as she reminisces on the events leading up to her production of the titular painting, pointed out by one of her students. It depicts a woman walking across a beach at night, her long dress on fire. Sciamma’s film then proceeds to contextualise this painting, beginning with Marianne’s first encounter with Héloïse and her tragic situation. Artfully portrayed by Adèle Haenel, Héloïse is initially morose and unyielding. Having recently returned home from a convent following the suspected suicide of her sister, she is presented to be a woman understandably reluctant to fulfil her duties to marry a stranger, yearning instead for the relative freedom that Marianne possesses.
Noémie Merlant and Adèle Haenel in ‘Portrait of a Lady on Fire’ (2019)
The intimate relationship between a painter and their subject
Warning: contains spoilers. With its representation of tacit and unspoken love, ‘Portrait of a Lady on Fire’ is unmatched. There are so many things left unsaid in this film, but Sciamma articulates them masterfully through music and art, showing us that communication comes in a myriad of forms. Upon completion of her portrait, Marianne is unable to betray Héloïse’s trust. Revealing to her the true reason for her arrival, Marianne is met with criticism from Héloïse about her portrait as she tells her that it lacks personality. Shortly after, we see Marianne mutilating the painting in an act of artistic frustration and perhaps affection, wishing to both stay longer with Héloïse and produce something authentic.
This is a sentiment echoed by Héloïse, as she explains to her Mother that she will sit for Marianne for a second portrait if she is able to remain with them for a little longer. In this act of sacrifice, we see Héloïse relinquishing her freedom for more time in the presence of the woman she is falling in love with. ‘Portrait of a Lady on Fire’ conveys the increasingly strong bond between the two girls during these days, detailing their relationship as they act both as the observer and the observed. When sitting for Marianne during this time period, Héloïse remarks ‘When you don’t know what to say, you touch your forehead. When you lose control, you raise your eyebrows. And when you’re troubled, you breathe through your mouth.’ Here, Sciamma speaks on the intimate relationship between a painter and their subject in a way that subverts the traditional concept of the male gaze in art, instead commenting on the perceptive nature of women.
The myth of Orpheus and Eurydice in ‘Portrait of a Lady on Fire’
The myth of Orpheus is woven into ‘Portrait of a Lady on Fire’ in a manner which both foreshadows and echoes the inevitable culmination of Marianne and Héloïse’s relationship. Orpheus was a musician and poet in Greek mythology who visited the Underworld to beg Hades for his dead wife Eurydice’s resurrection. Upon granting his request, Hades warned him that if he looked back to gaze upon his wife during their return to the surface, the deal would be voided. Unable to resist, Orpheus turns around to catch a glimpse of Eurydice, and she is condemned to remain in the Underworld indefinitely. When reading this story aloud with Héloïse’s maid Sophie, played by Luàna Bajrami, the three girls muse upon Orpheus’s decision. Marianne believes that he made the conscious decision to choose the memory of Eurydice over the real thing. Haunted by ethereal visions of Héloïse in her wedding gown, when the two women part ways Marianne replicates this choice. Turning around to gaze upon her lover one last time, she chooses the memories of the time they spent together over the possibility of being reunited with Héloïse in the future.
At the end of the film, we learn that Marianne sees Héloïse on two more occasions. The first at a gallery containing a portrait of her former lover where Héloïse surreptitiously catches her attention. The second, and last, at an orchestral rendition of Summer from Vivaldi’s ‘Four Seasons,’ where she observes Héloïse but is not in turn seen. Through these encounters, Marianne is able to reminisce on their enduring affection, untainted by time or age. In doing this, she echoes the advice she once provided to Héloïse; ‘Don’t regret. Remember.’ The almost spiritual reconciliation of the two women through art and music is testament to the immutable power of the moments they shared, captured in time forever.
Should you watch this before you die?
Overall, ‘Portrait of a Lady on Fire’ is a beautifully moving film that focuses on a single concept with outstanding results. Noémie Merlant and Adèle Haenel both deliver incredibly compelling performances and enable Sciamma’s work to capture a sense of realism that few romance films manage to achieve. Easily one of the best films of 2019, ‘Portrait of a Lady on Fire’ is one that you will not want to miss. An intelligent portrayal of femininity and love, it encapsulates a heartbreaking relationship with an additional, surprisingly profound focus on the arts.