Double visuality and the presence of painting in the film: British filmmaker Derek Jarman studied painting at the Slade School of Art in London. Caravaggio is a compelling portrait of genius as a problematic existence We see Caravaggio's most famous paintings - according to the attributions of recent art history - created before our eyes as the models pose for the artist . The painting is transformed into a cinematic story; we see the making of Death of the Virgin (1605-1606, Louvre) and other works while the arduous task of being an artist's model is realistically showcased. A painter himself, Jarman's film is his own work of art - a personal portrait of an artist, a rebel and a man in love. He uses bold imagery effectively: a snake on a basket, shadows on a wall and any scene that brings Caravaggio's paintings to life, and uses sound to suggest a grander environment. The first Tableau vivant is “Baccus” (1595) installed by Dexter. Fletcher in his first scene as a young Caravaggio,Sean Bean's character Renuccio is introduced alongside Gary Cooper who plays Davide, both actors at the start of their careers,The masters of cinema where the greatest followers of Caravaggio and Rembrandt use chiaroscuro, because they knew how to manipulate light to be able to separate the background from the foreground, the chrominance of colors helps to do this, but at the time of black and white... The The black and white films' techniques help celebrate Caravaggio's use of lighting, but also reveal the texture of the background; the result is a compelling and alluring whole that reads very clearly on camera.All these subtle gestures are meticulously considered by Jarman to situate the audience inside Caravaggio's paintings.Evocative and.... .... middle of paper ......ted, which he sheds new light on the original. It is perhaps to the extent that the film is a complete work and as such, therefore seems to betray the picture the most, that it actually does it the greatest service. (Bazin, 1967: 168) “It is not possible to look at works through the eyes of the past, only of the present, and no one coming to see Michelangelo or Shakespeare should ignore this unveiling. Civilization is of the same sex. (Jarman, Smiling in Slow Motion: 176) "it is difficult to know how the 17th century understood physical homosexuality... Church laws certainly prohibited what is called 'sodomy'... The term "homosexual" which identifies and ostracizes a group because of its desires and inclinations, is a clinical invention of the 19th century, around 1860." - (Jarman, dancing ledge:21) -Projection of modern drama: beyond Shakespeare, by Pascale Aebischer.