The Michigan Review

A 16th Century Call Girl

by Kristina Curkovic

Dangerous Beauty chronicles the life of one of Venice's most famous courtesans, Veronica Franco, a real­life woman brought to life on the screen by Catherine McCormack (Braveheart), who portrays the 16th century call girl as a pioneer feminist, an intellectual, and a stunning charmer.

The film takes us back to the extravagance of the city with gorgeous settings and costumes. In this beautiful city, extravagance and luxury extended to courtesans beautiful "companions" of rich men trained in the arts of love. Courtesans were among the few women in Venice who although not popular among women's social circles had the freedom and sophistication to read and write, and to discuss (and even influence) politics.

At the beginning of the film, innocent Veronica Franco plans on marrying the handsome Marco (Rufus Sewell, Cold Comfort Farm); however, despite the fact that they clearly love each other, Marco is forced to tell Veronica that he is expected to marry a woman of higher station. Veronica's mother, Paola (Jaqueline Bisset), suggests that Veronica can still have Marco if not as his wife, then as a courtesan. Veronica is unconvinced, until she is introduced to the world to which the Venetian courtesan is privy, grandly epitomized by a library full of books from which ordinary women are barred. Thus begins Veronica's marvelous career as one of Venice's most popular courtesans.

The movie progresses quickly from that point, demonstrating Veronica's quick rise to riches and power, Marco's jealousy, his marriage, and the ominous cries of religeous reformers on the edge of their heyday in the Inquisition. The film deftly deals with issues of equality, and of early feminism; McCormack's Veronica, with the quick-witted tongue of a poet, asks and

answers all the questions the audience has about station, rights, and justice in this city's most illustrious era. McCormack shines in this role with her winning smiles and her convincing looks of longing for Marco, offering a range of emotions that gives her a good chance at an Oscar nomination next year.

The climax of the film deals with the Inquisition that sweeps across Venice as "an answer to the Plague," as one of the characters puts it. Veronica's long­standing feud with a fellow poet­turned Inquisitor comes to clash in the halls of the church, where she is accused of witchcraft, and where the audience is left to anticipate what fate awaits their heroine in a cleverly­crafted scene.

The film has powerful emotional appeal with a theme of true, lasting love made believable by the exchanges between McCormack and Sewell. Their affair is full of teasing, turmoil and unsatiable love that are irresistable and moving. The screenplay also contributes to the film's beauty, especially the fast­paced poetic duels between Veronica and Maffio, and Veronica's monologue in front of the Inquisition toward the end of the film. While the unceasing, swelling music may go a little over the top in contributing to the film's romance, Dangerous Beauty captures the hearts of the audience just as courtesans like Veronica Franco captured the hearts of Venice 400 years ago. MR

This article was published in the 1 April 1998 edition of The Michigan Review (Volume 16, Number 9).
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