CASANOVA must have been a deliberate decision on HEATH LEDGER's part to follow his "Brokeback Mountain" hero with the opposite type of heterosexual philanderer known for an entirely different bent of sexuality. Whatever, he makes an attractive romantic lead in the role and gives every indication that he would have developed into one of our finest screen actors but for his untimely death.
The film is acceptable and pleasant throughout, but one gets the impression that it might have worked even better as a straight dramatic tale rather than having the emphasis on farcical comedy. JEREMY IRONS' performance as the clergyman who wants Casanova to suffer the worst sort of punishment for his conduct belongs more to drama than comedy and would have worked better in that realm. SIENNA MILLER is pretty but not very convincing as the woman Casanova decides he must marry.
Fortunately, the comedy aspects get a lift from OLIVER PLATT, the rotund man that Sienna is supposed to marry (sight unseen), whose identity is taken over by Casanova who invents an elaborate plan to pass himself off as the intended groom. Platt gives the film's richest performance as the buffoon who thinks Casanova can make him a less rotund lard king by applying all sorts of weight reducing methods to turn him into a more romantic image.
The film is gorgeous to behold and filmed in Venice with all of the period detail looking extremely good, the costuming is excellent (except for Ledger's wig), and it manages to be an entertaining romantic comedy despite some very obvious flaws.
The film is acceptable and pleasant throughout, but one gets the impression that it might have worked even better as a straight dramatic tale rather than having the emphasis on farcical comedy. JEREMY IRONS' performance as the clergyman who wants Casanova to suffer the worst sort of punishment for his conduct belongs more to drama than comedy and would have worked better in that realm. SIENNA MILLER is pretty but not very convincing as the woman Casanova decides he must marry.
Fortunately, the comedy aspects get a lift from OLIVER PLATT, the rotund man that Sienna is supposed to marry (sight unseen), whose identity is taken over by Casanova who invents an elaborate plan to pass himself off as the intended groom. Platt gives the film's richest performance as the buffoon who thinks Casanova can make him a less rotund lard king by applying all sorts of weight reducing methods to turn him into a more romantic image.
The film is gorgeous to behold and filmed in Venice with all of the period detail looking extremely good, the costuming is excellent (except for Ledger's wig), and it manages to be an entertaining romantic comedy despite some very obvious flaws.