I decided to watch this movie after reading Leonard Maltin's "151 Best Movies You've Never Seen". However, despite the film's inclusion on his list, I was not very impressed. Much of it is probably because I was a history teacher...and the film is rife with anachronisms. The problem is that the writer inserted 21st century sensibilities into a story set in the 18th century....which might make folks today feel good but which simply is bad history.

The story finds a feisty woman (WHY are they always so feisty in these stories??) who doesn't want to marry a man her family is picked out for her...even though that WAS how rich folks married back in the day. Marriage contracts were meant to solidify fortunes....and yet this woman complains about not having any choice. Back then the choices were simple...marry who your family picked out for you or spend your life in a convent. She also was big into screaming about inequality...more a late 19th early 20th century sort of beef. As for Casanova, he's portrayed as a highly enlightened man...whereas the real Casanova was hardly this enlightened (read up on him sometime...he was into sex with children and slaves, among other things). And, it's everyone else around these two who are essentially idiots. Add to that a terrible scene involving a miniature balloon that would make physics teachers angry and you've got a film which pays very little attention to the realities of life in 18th century Venice. About the only nice thing I can say about this out of time film is the look of Venice...it is lovely and the director and camera person both did very well in this sense. Otherwise, a dull and silly story with little to recommend it.

Despite the mixed to negative reviews, that didn't deter me from wanting to see 'Casanova' for many reasons. That it was advertised as a partially true account of the life of a quite fascinating character was one. My love for films set in a different (historical) period was another. And then there is that it was directed by Lasse Hallström, responsible for some great films such as 'My Life as a Dog', 'What's Eating Gilbert Grape' and 'Chocolat' (remember liking 'Cider House Rules' but that needs a rewatch).

Furthermore, 'Casanova' had a lot of immensely talented actors in the cast and that it was set in one of the most beautiful cities in the world. Went to Italy for the first time early last year and it was one of my favourite ever holidays and Venice was one of the highlights despite lots of walking and some of the food being over-priced in my mind. Seeing it, part of me did enjoy and found a lot to like about 'Casanova' (certainly liked it much more than the critics) but another part of me can understand why the reception was mixed. All of the cast have done better work in better films (especially Heath Ledger in 'The Dark Knight' and Jeremy Irons in 'Dead Ringers'),though that is not disparaging their performances at all. Also think that it is a (slightly) lesser effort for Hallström, though it is a better film than 'Safe Haven' and 'The Nutcracker and the Four Realms'.

There are great things about 'Casanova'. It is immensely attractive on a visual level, Casanova's wig being the exception. The sumptuous costumes rich in colour, the equally handsomely rendered production design and especially the stunning Venice itself have full impact thanks to some beautiful cinematography. Alexandre Desplat's score has spirit, whimsy and understatement which complements the film beautifully, the inspired inclusion too of baroque music (i.e. Vivaldi) also doing that. It also does well in matching what is going on, fitting the type of film, better than quite a lot of period pieces. Pucci's entrance, the solemn walk to execution and the climax are especially good in this regard.

'Casanova' does have genuinely funny wit too in the dialogue, has some playful slapstick in parts and there is liveliness namely provided by the supporting cast. A particularly hilarious scene is with Oliver Platt being discovered covered in lard, and another with the pig under the table. There are sly turns in the plot that are as surprising to the viewer as they are to the characters. The cast do very well here generally, personally do not think they over-acted mostly and if it did seem that way it was down that it looked like they were having more fun than Ledger. Platt especially is a comic joy and lifts the film whenever he appears, and Irons should do comedy more because he does show that he has great comic timing while being a sinister presence too as Pucci. Sienna Miller is charming and has some sweet chemistry with Ledger.

Do think however that 'Casanova' doesn't do enough justice to a character that was much more colourful than seen here. Contrary to what was advertised, its depiction of his story is actually very loose with little truth to it. Ledger does underplay and is a little too restrained, he could have brought more edge to the role. Hallström's direction can be assured at times but at other times it's leaden in particularly a few very draggy stretches in the middle. The pace is also uneven, sometimes it's perfect, but the middle occasionally does drag, Ledger and Miller's scenes needed more momentum, other than when Platt and Irons are on screen.

Also found the climax on the rushed side, and it was at that point in particular when the farcical humour and slapstick became over the top and silly. While enjoying the plot twists, the story does have too much going on at times and it does get confusing when trying to keep up.

In conclusion, enjoyable enough but a bit mixed here. 5.5/10

Immediately after getting an Oscar nomination for playing a repressed gay man in Brokeback Mountain, Heath Ledger went 180 degrees the opposite direction in being cast as Giacomo Casanova who along with Don Juan remains the last word in rampant heterosexism.

Only this time Casanova may have fallen big time for Sienna Miller who in her way is the 18th century version of a liberated woman, even having the temerity to attend the University of Venice in male garb.

But when you're Casanova by now you have an image to protect and a reputation to live up to. The tales of seductions and conquests have been providing a lot of gossip fodder for the nobility, even the Doge of Venice is a fan of sorts.

But the current Pope isn't and he's sent one of his best Inquisitors in the person of Bishop Jeremy Irons to once and for all stamp out the heresy he's spreading. Loose behavior is fine for the Renaissance, but now that we've got Protestants to contend with of all kinds, we'd better keep our own image intact, an image that Casanova is wrecking daily.

It's too bad that classically romantic players like Errol Flynn or Tyrone Power, Douglas Fairbanks,Jr., or Louis Hayward when we had them in abundance never took on Casanova as a role. Heath Ledger is a good substitute, but I would love to have heard that dialog coming from one of them.

Oliver Platt has some nice moments as the lard merchant who wants very much to get a little Casanova like action that his portly frame will allow. Casanova is a film that's good, but kind of out of its time.