I think some long periods of Farinelli's life are left out. The film is too focused on his love life, making it definitely a female movie. There were a lot of other aspects to explore. We also get to see the obligatory scenes of audiences being mesmerized by opera, as if they were some island natives and not opera house regulars. Nevertheless, being a high budget movie, it has great costumes and beautiful scenery. Most of all you get the chance to explore the divine music of Haendel.
Farinelli (1994) 720p YIFY Movie
Farinelli is a movie starring Stefano Dionisi, Enrico Lo Verso, and Elsa Zylberstein. Farinelli, is the artistic name of Carlo Broschi, a young singer in Handel's time. He was castrated in his childhood in order to preserve his...
IMDB: 6.91 Likes
The Synopsis for Farinelli (1994) 720p
Farinelli, is the artistic name of Carlo Broschi, a young singer in Handel's time. He was castrated in his childhood in order to preserve his voice. During his life he becomes to be a very famous opera singer, managed by his mediocre brother (Riccardo).
The Director and Players for Farinelli (1994) 720p
The Reviews for Farinelli (1994) 720p
Castrated story but enjoyableReviewed byAngeneerVote: 7/10
The bawdy adventures of Carlo Broschi, the man with the magic voice and no testicles. But his brother Riccardo steps into the role of carrying out the sexual duties, filling women with what Carlo cannot offer! Interesting account of the great opera singer and his life in turmoil.
This remarkable film remains one of my favourites. The story line at first left me wondering why the director had chosen to make the film in the first place. Luscious scenery, beautiful costumes, sets, extravagant, but historically accurate stagings for the opera scenes, great language and dialogue - but why make a film about an all but forgotten singer from almost three centuries ago? Nothing in the film seemed to give a clue as to why anyone would go to all the bother of reconstructing a marvelous voice so painstakingly, and choose one of the great performers of our time to oversee the performances of the music. Repeated viewings did not seem to throw any light on the vexing question that, despite all the lushness and splendour I was still missing some point to the whole exercise. It was only on the third or fourth viewing that I noticed in the opening credits a small remark - in French - "to the memory of my daughter . . "name"". Suddenly the whole thing made sense. This marvelous and true story of the castrato is, perhaps, the directors attempt to describe his impotence in the face of the loss of his beloved child. Viewed in this light the ending of the film and the sequences in London between Farinelli and Benedict finally begin to have a poignancy and a sadness that is truly stunningly and sensitively achieved whilst adding to the story line. I love this film and cannot possibly recommend it enough. Any lover of Early Music should revel in it, but it has been lifted out of the ordinary and into the universal and sublime by that one small realization. Superlatives cannot do it justice.