There are several places that make a deep impression on the film. The first is the love relationship between men and women in Europe at that time. The verbal teasing or physical relationship between each other was very direct, without too much concealment or subtlety.
The second is mutual coexistence, focusing on mutual respect and politeness, but at the same time, the words between conversations will not have too many Chinese-style "ceremonies" or cover up personal opinions. Direct, and without disguising individuality. For example, FARINELLI, even in the face of the crown prince's praise, is still not grateful to Dade or only the only one, on the contrary, he gave a bitter irony and direct refutation to the crown prince's "artistic view".
FARINELLI values the communication and inspiration between opera and the soul, so he pursued Handel wholeheartedly. However, unexpectedly, even in the face of such a talented singer (think Pavarotti's 9 high-pitched Cs, FARINELLI is even better), Handel was still very arrogant and unmoved at the beginning.
Handel in the film is very vivid and has a distinct personality. Especially the sharp verbal expression is impressive.
The third is that the opera passages in the film are very "happy". Whether it is the gorgeousness of the opera stage, the voice of the singer's "sigh of heaven", the classic opera masterpiece, or the beauty of the singer's face, it can directly shock the audience's senses and hearts. --- The director fully demonstrated the inherent charm of "opera".
It is worth mentioning that the costumes and props of the movie are very fine. The "symbolism" is used proficiently and proficiently in the process of the film. The rhythm is moderate and the content is rich. It can be said that this is a very worth watching film.
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