Savage Messiah (1972)

one of my absolute favorites!

Am i the only one who thinks........Average?

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Ken Russell always has been a controversial film-maker, interesting and unique certainly but did have a tendency to resort to excess that could cheapen things. If we exclude his composer documentaries on Elgar, Delius and Debussy(wasn't crazy about the one on Richard Strauss), which are even better than any of his feature films, Savage Messiah is an underrated film. Maybe it could have had more time to breathe in places, while the deliberate pace was very effective there was a tendency to have a restless vibe, and more could have been done with Gaudier's war-time experiences, it was still affecting but compared to the love relationship it did seem on the brief side. However, it does rank alongside Women in Love, The Devils, The Music Lovers and Mahler as one of his better films(of his feature films the only one that I'm iffy about is Lisztomania). It is opulently and atmospherically filmed- if not as much as Valentino or The Music Lovers- and the production values are just as much and even more so. The classical music doesn't feel too much of a hodge-podge and is placed remarkably well, not feeling misplaced. Debussy is the most frequently used, and the impressionist style of his music is beautiful and powerful and judging from how many times his music has been used in his films Russell seems to think so as well. The script is dialogue-heavy and that it was very articulate and had genuine bite too is most admirable with a healthy balance of comedy and tragedy, while the story always engages and the platonic love relationship is told with emotion, while not exactly warm it's hardly hollow, and a sense of fun. Russell's direction is ideal for the subject matter and the story that's been told, like with Valentino for example you can tell he was having fun directing but he also does so with restraint, especially when being compared to Tommy or Lisztomania. There are some great touches here, those who say Helen Mirren's staircase scene is unforgettable are absolutely right, matching Leslie Caron's funeral scene entrance in Valentino in sensuality. The vegetable chopping scene is just as savage as the dialogue and you cannot fail to be moved by the final tragic 10 minutes. The performances while theatrical are fine, Scott Anthony does overact at times but carries the film excellently. Dorothy Tutin is superb as is Helen Mirren(one of those women who still does look amazing, always a standout at awards ceremonies). Overall, one of Russell's better films and deserving of more recognition, it is nice to see though that there are people who remember it very fondly. 8/10 Bethany Cox

Even die-hard fans of Ken Russell's florid style will have a hard time with this one. "Savage Messiah" came at the height of Russell's most creative and prolific period, making it all the more disappointing. The dialog is nothing but non-stop posturing, pontificating and proselytizing. The endless platitudes are as noisy and relentless as the steady din of the artist's subterranean lair. Missing too, are the visual flights of fancy that add color and texture to Russell's films. Only a slight hint of excitement appears in the gaudy Vortex sequences and in Helen Mirren's extended nude scene. Shirley Russell's dependably sharp eye for costume is limited here to drab and dull. Performances are so overstated that the characters never truly come to life, rather, they remain caricatures of non-conformist, artistic types. The film lacks the opposing subtle undercurrent present in Russell's more excessive exercises. Henri Gaudier Brzeska's life story is ripe for a Russell interpretation, but it's oddly mishandled here.

Hello everybody;I remember watching this film when I was 12 years old in a late night show on a local channel and it blew my mind. Since then I have never found a copy even on VHS (I am sure it is not yet released on DVD). If someone knows where can I buy a copy (used, doesn't matter) I will greatly appreciate the information.About the movie I can say (Sorry for the blah blah but I need to fill the ten lines in order to post this), what I remember the most is the intensity of the performances and the beautifully crafted direction of photography. Russell is a superb director that knows exactly where to look for the right film crew.This is one of the best films I have ever seen and had an ever lasting impact in me as a person and as an artist. Henry Gaudier's story is compelling and dramatic. Although his life as an artist was short and turbulent his work (mostly sculptures and a few sketches) endure.thanks

Savage Messiah is perhaps the least famous of Ken Russell's biopics from the early-to-mid 70s. He made films about Tchaikovsky (The Music Lovers), Lizst (Lizstomania), and Mahler (Mahler) during this period, and in this offering his subject is the French sculptor Henri Gaudier-Brzeska. Gaudier-Brzeska, though not a household name, is certainly an interesting character and this film is a worthwhile experience for anyone who wants to find out more about him, or anyone who has an interest in his career.It is, however, typically erratic and in-your-face, as most of Russell's pictures are. There's sex and nudity, lots of bitter and angry dialogue, and heaps of soul searching. In real life, Gaudier-Brzeska married a Polish noblewoman twenty years his senior and was tragically killed during WW1. Russell revels in exploring the complexity of their relationship, but he makes little of Gaudier-Brzeska's wartime experiences (which in actual fact might have been well worth showing in more detail).I like this film because it is fast-paced, unconventional and witty. Having said that, I wouldn't put it in my list of all time favourites because it lacks warmth and narrative clarity. It's not as intense as Russell's The Devils, but it stands alongside that film of one of his better motion pictures.