Very well done, 9 September 2007 Author: pyramidalapex from United States

Superbly acted and photographed recreation of the times, both visually and culturally. Left me wondering where the art used in the film came from. The actress who played Modigliani's girlfriend was portrayed so well in the art that it makes me think someone created the art just for the film. But when paintings are created for films you can always tell! And here it's art of famous painters whose work and style is very well known. The paintings used in this film appeared absolutely genuine! Ever wondered where artist's inspiration comes from? This film reveals where these important painters thought theirs was coming from--an on-the-edge lifestyle that didn't last long for reasons made clear in the film. For the record, I disagree with Messrs. Modigliani and Picasso . . . Fascinating! Great job Andy! Great film!

A Superb Film!, 24 September 2007 Author: Pablo999 from United States

Ignore any negative criticism you may have read about this film and just see it. Andy Garcia gives his best performance ever in this piece. The entire cast is excellent, the costumes are amazing, and the sets are fantastic. The audience is drawn into the genius of Modigliani very eloquently, and the tension between Picasso and Modigliani is portrayed in an engaging and creative manner. I won't continue on with affected accolades on this one. Simply put, it's a great rent! Of course, you can criticize any film. I would have liked to have seen a little more of the unique artistic genius of Modigliani portrayed, but that is a minor gripe

This movie is a joke, 1 January 2006 Author: aroberts1 from United States

Being an art history major and artist I was excited to see this movie. Within the first five minutes of viewing I was very put off by the over the top over acting. Garcia is not convincing and the script is frustrating. Even if Modigliani did have soooo much bravado in real life, he surely had some complexity or depth of character to justify it. I asked myself, "Who wanted this film made and why?" The director clearly had no interest in the arts, or history or even Modigliani. An artist’s life is simply not believable and portrayed with such ridiculous over dramatization I stopped watching after the first hour. I have watched many docudramas about the art world and have never seen one so badly done as this. I have never felt so disappointed with a film.

A classic tale of alcohol-induced tragedy, 23 June 2006 Author DougThorburn from Northridge, CA

"Do you know what love is? Real love? So deeply you'd condemn yourself to eternity in hell? I do and I have." So began Jeanne Hebuterne's narration of the story of her lover, artist Amedeo Modigliani. Few movies with obvious addicts at their center excite, but this one does - because of the ease with which we can relate to the codependent, Hebuterne (played endearingly by Elsa Zylberstein), who is drawn imperceptibly into the abyss. It's a classic tale of the seeming incomprehensibility of misbehaviors keeping close people off balance, making it easy to induce them to do things they would never in their right minds consider. Initially, Modigliani (played by Andy Garcia in a terrific role) is outwardly eccentric, exciting and charming. The visceral appeal and seduction proves impossible for Hebuterne to resist and she falls in love with Modigliani almost at first sight. Happy though he may initially appear, he increasingly becomes consumed by remorse when able to see what the aftermath of his misbehavior has wrought. When his contemporary Pablo Picasso asks after an encounter, "Why do you hate me so much?" Modigliani responds, "I love you Pablo. It is myself I hate." He tells Hebuterne, "I have nothing for you. I am nothing." When she responds, "So you'll just run away?" he bluntly states, "That's what I do best." And so it goes, with Modigliani apparently growing to believe that irresponsible behavior comprises his real self, which he loathes during moments of lucidity, while Hebuterne sees through to the real Modigliani, who is brilliant and caring. Yet it isn't Hebuterne who tells him to stop drinking entirely; even Picasso suggests he "drink in moderation," which, as a person with alcoholism, he cannot do in the long run. It is Modigliani and Hebuterne's young son who tells him, "If you keep drinking, you'll kill us both." Although it seems an insightful observation for a child, other addiction experts (I say "other," because I've authored four books on the subject) have pointed out that child-victims see the potential for annihilation far more clearly than do others, including the spouse who is blinded by alcoholic charm and the decency they see underneath the muck of addiction. While Modigliani's binges are so apparent that everyone around him is aware of the problem, the cure - complete cessation - eludes. His most destructive behavior generally involves periodic abandonment of his wife and child for opium and booze. However, knowing we cannot predict how destructive an addict may become or when (one of the themes of my first book, "Drunks, Drugs & Debits: How to Recognize Addicts and Avoid Financial Abuse"), we should not be surprised when at one point Modigliani is put into a straitjacket. Nor should we be shocked when he shows up four days late to paint a portrait of a benefactor, although desperately in need of funds. Later, pleading for money so he can see a doctor, a friend asks him to promise he will not drink it away. Despite his doctor's admonition that if he continues to drink and smoke opium he will not live another year, his lungs already at half capacity due to having had tuberculosis as a child, his thirst for the drugs is insatiable. In typical alcoholic fashion, when told to stop drinking and to concentrate on painting, the egomaniac created by the alcoholism responds that no one can tell him what to do. Some critics object that the movie is confusing, alternating back and forth in time with numerous flashbacks and what may be hallucinations; but this is analogous to the life of the alcoholic, who leads a confused Jekyll and Hyde existence. While Modigliani isn't violent toward his family, the psychological abandonment conveys the experience of many victims: verbal and emotional abuse does more damage and lasts far longer, perhaps because it's easier to leave physically and detach emotionally from a violent addict. This could explain the classically tragic end. Because alcoholism provides the most certain tragedy, tragedy makes good cinema and the conflicting effect on the codependent is, for once, accurately portrayed, this is one of the best of the overtly alcoholic genre.

A magnificent production, 19 May 2005 Author: shm140 from United States

A film as magnificent, tender, and powerful as the artist, whose life story it tells. Andy Garcia deserves an Oscar for portraying Modigliani's tortured, yet tender soul. Elsa ____stein (cannot recall her last name) who plays Modigliani's wife is disarming and powerful. Omid Djalili as Picasso delivers a wonderful performance and proves himself to be worthy of playing side-by-side with Andy Garcia. The acting, directing, the sound, the music, the dialogs, the cinematography all come together to create a masterpiece that transports you to the life and times of great artists such as Modigliani, Picasso, Rivera, and many more in the early part of the 20th century. You can easily lose yourself in the passion of the movie. Listen to the music. While Edith Piaff's song is beautiful and nostalgic, the ending song of the film is mesmerizing

Wow. A great flick., 29 October 2005 Author: artzau from Sacramento, CA

Andy Garcia has always been a risk taker, playing bad guys, good guys, rats, heroes and unafraid to jump into a role that is well in the margin. Here, we find him as the enigmatic Amedeo Modigliani, the self-destructive brilliant and troubled artist of the Lost Generation hanging out in Paris after WW1. Too, the wonderful and beautiful Elsa Zylberstein favors us with a wonderful performance, departing from her usual French films. The Persian actor Omid Djalili is wonderfully arrogant and petty as Picasso, as are all of the primarily European cast. Shown with all their warts and moles are the great painters, Picasso, Rivera, Matisse, Utrillo and the redoubtable Gertrude Stein, poet and literary critic, and Jean Cocteau, the film maker. It was an exciting era that produced some of the 20th century's greatest art and this film gives us an artistic glimpse into that world of troubled and mad world of creative individuals absolutely refusing to compromise their individuality. Of particular interest is the scene where Picasso takes Modigliani to see Renoir, the great impressionist, who has retired crippled and aging to a country villa. As they approach the room where the old man sits in a wheel chair, Picasso says, "Come and meet God." While a serious art historian might quibble with some liberties with the recorded facts, e.g., Picasso is shown with a grudgingly mutual respect more so than the chroniclers of that time report, the film does capture that cyclone of creative genius that abounded in post-war Paris at that time.

A great love story, if not entirely factual, 25 May 2005 Author: lizliz from United States

Modi and his wife had a deeply dysfunctional relationship in real life, not the idealized one we see on screen, but that's not the point. Anyone going to see this movie expecting a documentary about a painter is in the wrong theater. It may also not be an accurate portrayal of the artist himself and what motivated him. Maybe it's too hard to convey that on screen. Who alive could tell Davis who the real Modigliani was anyway? This is a love story, pure and simple, and on that level, it succeeds. Yes, there are the inconsistent accents, yes the baby is a little young. And no, a painter would never break a treasured brush in half to celebrate the completion of a painting. That out of the way, the music is perfect, amazing, gutsy and wonderful. Zylberstein is brilliant and deserves a great deal of recognition for her portrayal of Jeanne, Modi's wife. Garcia is fantastic; subtle, beautiful, deep. The supporting actors, particularly the ones who played Renoir and Picasso, were a delight. Like life and love, the film is funny, oblique, moving. and tragic. The cinematography is gritty and gorgeous, like life at the turn of the century. Go see this film and enjoy.

BAD is a euphemism..., 22 January 2006 Author: psydux from France

This grotesque portrayal of the Parisian life of artists is a waste of time. I loathed this movie for the following reasons. First: the clichés. The couple dancing in the dark at night in the street, the little boy (Modigliani as child), Picasso being the first one to recognize Modi's talent (He applauds first), the punchline "I 'll paint your eyes when I know your soul"...I'm pretty sure the director lost a bet and had to include as many clichés as possible. Horrible. Second: Elsa Zilberstein. What a terrible actress...especially when she screams. Totally unbearable. But she's never as bad as Modigliani's agent.

A little too clichéd, 10 May 2005 Author: niklawrence from Belgium

The look of this film is wonderful. The sets, costume, lighting are all richly done and excellent. The acting is good but the actors don't have much to work with. All the standard clichés about struggling artists in Paris in the 20's are shown here. The tortured genius, the noble poverty, the absinthe-sodden café culture. However, it all looks so good it doesn't ring true. It's portrayed as we would all like Paris in the 20's to have been, not necessarily as it really was. Modigliani in real life was so poor he was forced to move from one dive to another but here his apartment seems a dream. As for the plot it centres around his animosity with Picasso but we are never told why there is such rivalry between them. Also, his refusal at one point to work for someone who has money but no artistic appreciation strains another cliché to breaking point. Although it looks lovely in the end the film was disappointing. It's a film of misty-eyed nostalgia for arty 20's Paris but has no real substance beneath that. I guess everyone even slightly artistic would have loved to have been there at that time and this is a film that shows them what they'd like to see.

The satellites outshine the star, 11 May 2006 Author: Nozz from Israel

This is a movie about painters in Paris that tells us nothing about painting and shows us nothing of Paris. The most profound observation anyone in the movie makes about Modigliani's work is that he exaggerates the length of the neck. To add a little excitement to the mix, characters fire guns in one another's general direction (twice) and the manner of Modigliani's death is irresponsibly fictionalized. At least I consider it irresponsible, because people will come to the movie not knowing the facts and come away thinking they've learned them. Andy Garcia is to be commended for taking the title role-- Modigliani is worth a movie, and I'm sure no one set out to make it a bad one-- but he is less convincing and interesting than the supporting actors who bring Soutine, Utrillo, and especially Renoir to life.

Not a film for art lovers, 21 December 2005 Author: francophile_2002 from France

If you know anything about art or artists you won't like this film. To paraphrase the late Barry Took: there are thousands of films made, catering for all tastes, but most of them are for those who have absolutely no taste at all - and this is one of them. It is based on characters not events and most of the latter are invented: the film is after all a drama, not a documentary: the paucity of facts is acceptable, it is the lack of truth which makes this film so shallow. The characters are Modigliani and his contemporaries, most notably Picasso. With a few exceptions, the acting is wooden where it is not mechanical (Andy Garcia); the exceptions include Louis Hilyer as Zborowski, Jim Carter as Achille Hébuterne, Michelle Newell as Eudoxie Hébuterne and Hippolyte Girardot as Uttrillo, who all try to convince. The rest were simply not believable as the artists they were impersonating: mostly even they themselves gave every impression of not believing in what they were doing. Andy Garcia is too fat for the role of Modigliani, who at the end of his life was wasted by excess (e.g. alcohol) and illness and living in squalor on a diet of brandy and tinned sardines. Omid Djalili as Picasso is even fatter. The scenes of the artists painting are pure vaudeville - most of them seemingly getting more paint on themselves than on the canvas; this is not a total loss however since the paint looks decidedly better on them than on the finished paintings, which are dross. The picture of Jeanne which 'Modi' paints at the end is unbelievably bad and an insult to an artist who has pretensions to greatness: this is partly what I mean about lack of truth. This is a film purporting to be about artists, made by someone who clearly knows nothing about art.

Leaving Las Paris, 16 March 2005 Author: bking099 from United States

Colorful and engaging Bio-Pic. Artist portrayals are always difficult to convey on the screen, and in this case, a painter comes across as self-serving, ultimately unsympathetic but full of great art. His oeuvre speaks volumes but his lifestyle results in some sad and destructive behavioral patterns that he never could outgrow. The scenes between the Big M and Pablo Picasso are the most interesting because of the tension created by the actors in each of the scenes; but Diego Rivera is reduced to bows and grunts. How do you portray inspiration? That's a puzzle. Too bad, too, because ultimately "M" left me mostly unmoved. Has the film a USA distributor? And for who is the pic targeted? Wait till DVD, rent it; and then go to an art gallery.

Portrait of the Artist as a Collection of Clichés, 20 April 2005 Author: fuente-2 from Larvik, Norway

This more or less completely useless film is hopelessly stuck in a romantic (as in 19th century) view of the artist as a lonely, struggling genius. The film (if not its subject's life) is a catalogue of clichés: The miserable childhood, the penniless adulthood, the difficult love life, the threat of insanity, the critical incomprehension, the refusal to 'sell out' (possibly the most long-lived of romantic clichés, it's still thought to be relevant in the world of rock and roll) and the god-damned post mortem vindication are all present and accounted for. Add to this lookalikes of the usual suspects of Paris between world wars - Cocteau, Picasso, Gertrude Stein etc., - and an audience with the godlike Auguste Renoir and you get this: two hours of rehashed ideas trying to convince the viewer of an artist's originality by equating him with every stereotyped image of the troubled genius. This extreme conventionalism is hardly suited to the memory of an unconventional artist like Modigliani, is it?

Enjoyed the movie., 24 May 2005 Author: sjm9 from United States

It took a while for me to get into it, but by the end I really liked it a lot. It could have been more consistent and seamless -- the casting was so-so. In the first part of the movie the intensity of the characters didn't come across, but as the movie progressed, especially near the end, their emotions were more convincing and believable. The music was possibly the most passionate and moving part of the whole thing -- I hope a sound track is released. I liked the sets, the costumes and filming was pretty good. The subject matter was of particular interest to me as I am an artist. It's probably not for everyone and definitely not for those who like formula, action films

Mediocre, 23 May 2005 Author: loplop from United States

I really love Modigliani's work, so I was excited to see this movie. Unfortunately, it turned out to be disappointing. While Andy Garcia is a good actor, he's an unconvincing Modigliani-- he looked much too clean, well-fed and robust for most of the film! The music was bland, terrible and out of place- instead of heightening the experience, it transformed most scenes into cheesy, sentimental, and trite. The ending was far too drawn out, and it only made the movie more clichéd and sentimental. Jeanne talks about her intense love for Modigliani at the beginning and end of the film, but we really hardly even get to see that-- her character is flat. Consequently, these "dramatic scenes" of her love for him come off as contrived and ineffective. Another thing I didn't like was the way the characters spoke. As a reviewer mentioned before, they switched from different languages and accents at the drop of a hat, which was weird. From American English to European accents to European language. It was annoying. But, I liked Elsa Zylberstein as Jeanne. She looked just like a Modigliani painting. A good scene was the one where Modigliani and Picasso visited Renoir, as was the scene at Picasso's exhibition where one of Modigliani's paintings was shown. But, overall, I feel that the movie was trying way too hard to be dramatic, artsy, and decadent and it really didn't accomplish any of it. I thought it was a rather contrived, emotionless effort that didn't do much justice to the artist

Those whom Gods love..., 16 January 2006 Author: Galina from Virginia, USA

I'd give this movie an award for the best imperfect movie I've ever seen or the most impressive movie that has grown on me as I watched it or the movie with the most clichéd ridiculous first hour that gradually picked up its momentum and become a film of rare beauty and incredible power. As the title suggests, this is a film about time and life of one of the most charismatic Artists of the last century, Amedeo Modigliani (1884 - 1920). Last April, I visited a wonderful exhibition of his works in Washington DC that hosted nearly 100 of his paintings, sculptures, and drawings. Modigliani's style is so unique and striking, distinguished by strong linear rhythms and simple elongated forms that it takes only seeing couple of his stunning, sensual and aesthetical portraits to never forget him. His name, "Amedeo", has such a beautiful and sad meaning, knowing the story of his short life. "Amedeo" means beloved by God, and he sure was, talented, charming, and charismatic. But as the saying goes, the ones whom the Gods love die young. Modigliani health was very poor, and his life style did not help it. He died from tuberculosis and meningitis when he was 35. His lover, his muse, and the mother of his daughter, 21 year old Jeanne Hebuterne who was pregnant with their second child by the time of Amedeo's death, did not want and could not survive him. On the day following Modigliani's death, she threw herself from the window on the fifth floor and killed herself...You may say, "How melodramatic" but life sometimes is more dramatic than any work of art or literature. The casting of 49 year old Andy Garcia as 35 year old Modigliani seems a little strange but Garcia did his best working with the material. There was a moment in the movie when he addresses someone, "What is the matter with you?" with such obvious Brooklyn accent that I felt like watching "Godfather, part 4 ½". Actually, most of the dialogs in the first hour or so were rather unintentionally funny. It seemed to me that the director tried different approaches to his film. Modigliani came from Italy – we see many times the parade of clowns on the streets of his native Livorno as the recurring image that could have come from Fellini's films. Then, film looked in Baz Luhrmann's "Moulin-Rouge" direction with the songs and music from different epochs (and I said to myself, oh please, no). Davis also compares Modigliani's life with that of another Amadeus, struggling genius – child from 18th century Vienna –the film brought a Mozart / Salieri theme with a successful and rich fellow painter who comparing to Salieri happened to be a very talented Artist himself - Pablo Picasso. So, for the first hour, the film struggled (almost as much as its protagonist) but then, something happened. The film's creator realized that the Artists are interesting not only because of their personal problems, weaknesses, struggles, preferences but first and foremost because of their talents, of their abilities to create, to look at the world like no one before them did, to capture their impressions in the forms and images that even after they are long gone make our hearts beat faster, make us say, "This is beauty, this is poetry, this is perfection". The scenes of incredible power just come one after another, the scenes with few or no words spoken at all. Among them, Picasso's and Modigliani's visit to one of the titans of 19 century, August Renoir in his country mansion. Renoir was shown as the old, wheel chair bound man who had to be spoon–fed by his nurse but who obviously had sharp mind and more wisdom than both Picasso and Modigliani together. Later, there was a long scene showing young painters - Chaim Soutine, Maurice Utrillo, Diego Rivera, Pablo Picasso, and Amedeo Modigliani working on their paintings for the Grand Prix de Peinture, the yearly art competition at the famed Salon des Artistes. Close to the movie's end comes my favorite scene – the opening of the Salon with the presentation of each painting – there is no rivalry, no competition any more – each work of art shines and every artist is happy to admit the talent and uniqueness of his fellow competitor. So, what do I think of "Modigliani", the movie directed by Mick Davis? I enjoyed it and I would recommend it to others. Andy Garcia, who is not my favorite actor, won me over with his performance in spite of the problems (many) with the script. I've been always interested in the period of post War World 1 Art history when everybody who was anybody tried to be in Paris, the Art Mecca for many generations of Artists and the film's depiction of the Modigliani's contemporaries was interesting and made me want to research more about them. I'd like to see more movies with the actress Elsa Zylberstein who played Jeanne – her melancholic beauty, grace and talent are undeniable and helped to make the movie based on the Artist's life compelling, convincing, and remarkable. P.S. According to Pablo Picasso's personal physician, the Artist who had survived Modigliani by more than 50 years, whispered his name on his deathbed.

Witnessing the Bohemian Life of Paris, 1919, 6 October 2005 Author: gradyharp from United States

MODIGLIANI is a difficult movie to review. It has some very strong features such as the cinematography that captures the artsy feeling of Paris 1919 and, despite excesses, manages to create some visuals of hallucinations and the wild madness of painters painting canvasses; a rather complex peak into the lives of several of the more revolutionary artists of the time; and a substantial feeling for the interchange between artist and model. The main problem with the film is a script that is banal, limited in historical validity, and concentrating on a single rather silly motif of a painters' competition. Amedeo Modigliani (1884 - 1920) was a Jew from Italy who moved to the mecca of Paris to create his brilliant portraits and sculptures of nudes and extended neck women and girls. His genius lay in his unifying the spiritual Eastern iconography (tribal art and Judaism) of his heritage with the Christian (read Catholic) traditions. What this film delivers is a rather annoying portrait of a young consumptive artist who drank and drugged himself to death at a moment in his career when renown was just beginning. The reasons for his place in art history are merely hinted all for the sake of the Hollywood biopic. Andy Garcia plays Modigliani with a modicum of élan and a plethora of bad traits. The lovely model Jeanne Hébuterne (Elsa Zylberstein) who was the subject not only of his portraits but the mother of his illegitimate child and his live-in paramour does have an uncanny resemblance to Jeanne! The artists with whom 'Modi' works include Picasso, Soutine, Utrillo, and Diego Rivera. But aside from a visually exciting experience there is really very little to be learned from this liquor and opium soaked consumptive noisy melodrama that could have been about any one of the artists involved in the story. The genius of Modigliani is barely tapped.

A Movie Worth To Be Seen, 18 August 2005 Author: sabioana

I find Modigliani a movie worth to be seen! Some of you might consider it doesn't capture the real "spirit" of that era or that it puts too much accent on the painter's madness and on his interior drama; but this is Modigliani in Mick Davis's conception, it's a movie not a documentary! The soundtrack is perfectly chosen to amplify the feelings transmitted by the excellent performance of the actors. It is more than a cinematographic production. It is a symbiosis between passion and love, human nature and vices. The memories of Amedeo about his childhood, the reproofs of "Modigliani-the little boy ", the incapacity of resisting to temptations and the permanent psychological pressure given by having such a rivalry have driven him to self-destruction. It is the destiny of a man who passed away just a moment before tasting success...

An excellent movie, 11 November 2004 Author: tmfef from Hong Kong

I was lucky to see this movie in Paris where this movie was first released in the cinemas. I was really impressed by the brilliant performances of Andy Garcia and Elsa Zylberstein and the rest of the cast. Andy Garcia is a VERY versatile and extremely talented actor. We may already know this story is about the last years' of life of the Italian painter Amedeo Modigliani and set in Paris in 1919. However this movie has a new approach and new ideas and it is not an ordinary biography movie. The spirit of Paris in that period comes alive in it. Everyone involved in this movie worked with passion and passion is actually its main theme. I totally enjoyed seeing this movie and I hope it will be released widely and many people will be able to see it. We are all surrounded by those big blockbuster movies nowadays and it is so nice to see Modigliani, a real gem.

Beautiful Work of Theatrical Art, 11 May 2005

Author: tillou from United States

Kudos to those involved with this project which allows movie-goers to understand a little more about the private life and time of Amedeo Modigliani. And special thanks to the private funders, whose support of independent productions make movies with meaning possible -- and in this case, turned a relatively obscure dream into a wonderful reality! This period piece is beautifully done. The acting is superb, as well as the cinematography, editing, music and writing. And did I mention the acting? Wow! Andy Garcia was brilliant, along with excellent performances by Elsa Zylberstein (as Jean Hébuterne), Omid Djalili (as Picasso) and the Romanian actor who played Renoir. Thank you for this beautiful work which, I'm sure, will be appreciated for years to come!

An Amazing Film, an Amazing Performance, 25 December 2004 Author: Tiny-13 from 5

The story of Modigliani is well-known. However, this film gives it life with a wonderful script, amazing cinematography, and mind-blowing performances by Andy Garcia and Elsa Zylberstein, a little-known French actress. I was glued to the screen from start to finish and have recommended it to everyone. If this film, Garcia, and Zylberstein don't receive Academy Award nominations, there's something wrong with Hollywood... at least more than is already wrong with it. Run, don't walk to the nearest theatre showing "Modigiliani"! See it while you can. It's a true find, and one that will stay with you long after you left the theatre

A Mixed Bag, 26 December 2004

This movie is very much a mixed bag. It's a good film. It's nice to watch, the acting is good, the direction is good and the story is engaging. But I feel it doesn't capture the real spirit of the era and the Paris artist community. It focuses too much on the immoral behavior and madness of the artists and leaves out the way these people viewed the world and their concepts of beauty. It's good the film tries to show the grittiness of it all, but there was so much more... I'd really have liked to see more about what drove Modigliani to paint as he did and what exactly drove him to destruction. This film only just touches on that... It tries too much to please the American audience in their quest for standardized Hollywood stories, but on the other hand it tries to have a certain "artsy" flair that remains just polish because it lacks depth Still you gotta see this. Not for an actual representation of Modigliani’s life or that era, just for it being a good film, dealing with passion, loyalty, madness, love and hate. See it for the atmosphere, which although not accurate, is beautiful. See it for the good acting and the wonderful chemistry between Modi and Picasso. It could've been so much more but it is what it is… good, intelligent entertainment.