At the same time, the script missed impactful comedy sequences. Although Zola and Cézanne have been friends from childhood, they broke in later life over Zola’s fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L’Œuvre (The Masterpiece, 1886). Zola’s talent for description of scenes comes through nicely here, with a bit extra of a creative eye than in different books.
The moment when Claude tries to elucidate to Christine how a tree could be blue even though trees aren’t blue. The painter’s eye taking within the islands outdoors Paris, or town itself on a dark night. The creation of a massive canvas, enveloping the studio simply as it dwarfs the relationship between the studio’s two inhabitants. Zola loves nothing more than the creation of a monster from one thing inanimate, and here the burden of the imagination – given physical form on canvas – matches … Read More