Georgia O'Keeffe

Have a high appreciation for art, despite never being particularly good at it myself. Of which Georgia O'Keeffe was one of the twentieth century's best and most important female artists. Regardless of any historical liberties, also really like to love a lot of biographical films. And then there is Joan Allen and Jeremy Irons in the lead roles of O'Keeffe and Alfred Stieglitz, regard them highly as actors (especially Irons, who is one of my favourites). So there was a good deal that made me want to see 'Georgia O'Keeffe'.

'Georgia O'Keeffe' was a decent film and does intrigue, with the two leads and their chemistry being the main reason really to see it. At the same time it was a little disappointing and somewhat superficial and under-explored. As far as biographical dramas about artists go, it's not one of the best or most illuminating, enough to recommend it but what could have been a work of art in the right hands doesn't have enough of a flourish and was a slight missed opportunity.

There are good things that are done well in 'Georgia O'Keeffe'. Allen makes a big impression as O'Keeffe, very nuanced with a lot of bold honesty. Irons gives his absolute all as Stieglitz, not as subtle as Allen (the way Stieglitz is written plays a part in this) but the charisma and intensity are there. A very good effort is made making both look like O'Keeffe and Stieglitz and it's a successful one, with some very well-crafted prosthetics/make-up, while Allen and Irons' chemistry is quite magnetic. O'Keeffe and Stieglitz's relationship features prominently here and it is actually very interesting, it's tempestuous but the film allows some more intimate moments to stop it from being over-the-top.

Alongside the depiction of their relationship, what also stands out in the story is the conclusion which is really quite moving, it is in the conclusion too where we most see the too fleeting moments of how O'Keeffe saw human nature. The scenery is stunning and complemented by some nice photography. Tyne Daly and Ed Begley Jr are particularly admirable of the competent if not always remarkable supporting cast in somewhat under-explored roles.

Do think though that despite the central relationship being done very well it could have featured less and there could have much more of how O'Keeffe saw human nature, her as an artist and how she worked. We never properly get to know her properly as a person and there is not enough illuminating about her work, art itself or her as an artist. 'Georgia O'Keeffe' too would have benefitted more from more show and less tell, would loved to have seen more of her work and creative talents shown and less of the film telling us about it.

Especially, like primarily in the voice over, when it doesn't always add much and has too much glossing over. The voice over over-explains, is rather superficial cliff-notes-like and wasn't really necessary when what is said could easily have been shown. O'Keeffe's art is beautiful and so vivid, and should have featured more.

Summing up, decent but could have been better. 6/10

Before seeing this movie, whenever I thought of Georgia O'Keefe I pictured this older woman in a studio in Santa Fe painting flowers and stunning landscapes. This movie finally got to my stereotypical image but it filled in details of O'Keefe's rich, varied, long life along the way.

O'Keefe's work had attracted the attention of famed photographer and art dealer Alfred Stieglitz who exhibited some of her work in New York in 1916. A couple of years later O'Keefe moved to New York and the professional relationship with Stieglitz, who was over twenty years older than her, ultimately turned into a personal one resulting in marriage in 1924.

I always have some reservations about how truthful a biographical picture is, particularly in a case like this where, at the time the screenplay was written, O'Keefe had been dead for over twenty years and most of the people in her life had been dead for upward of fifty years. For example, what are we to take away from the scene about the argument that O'Keefe had with Stieglitz regarding her wanting a child and his blunt refusal? Is that pure speculation? Giving it the benefit of the doubt, I assume the general sweep of her life as presented is accurate, and indeed reading the Wikipedia entry for O'Keefe seems to bear this out. For movies based on a true story I often ask myself why not just read the appropriate Wikipedia entry and skip the movie. But, if properly done, it is easier to get involved in a movie and come away with more lasting impressions. It is often the case that a good movie based on a true story, as this one, will prompt me to do some independent research. There is no lack of O'Keefe biographies, video, and art books out there.

In looking at some of the images of O'Keefe, Stieglitz, and Mabel Dodge, the actors playing those parts (Joan Allen, Jeremy Irons, and Tyne Daly) are well cast as to physical appearance and all do good work.

I wish more of O'Keefe's paintings had been tightly woven into the story.

This was essentially a two-person film. Sure, there were other characters that came in and out: Mabel Dodge Stern (Tyne Daly), Dorothy Norman (Jenny Gabrielle), Tony Lujan (Robert Mirabal), and Selma Steiglitz (Christina Koerber), to name four, but it was the passionate, sometimes stormy relationship between the painter, Georgia O'Keeffe (Joan Allen), and internationally known photographer and gallerist (and philanderer), Alfred Steiglitz (Jeremy Irons), that was displayed here. The New Mexican landscape can also be considered a character, as it enveloped her years after their split.

One of the things that may have helped make this more interesting would be some of the back-story in things that happened. Why didn't Steiglitz want children? There was a good reason. His philandering was also down played. The showing on Lifetime may have served to keep this from being all it could be.

There was some great lines throughout the film. When Stieglitz tells O'Keeffe not to return to her teaching job at West Texas State Normal College, he sniffs: "There's nothing normal in Texas." There are many more great lines, and that makes the film entertaining.

Seeing their relationship develop and falter, and watching how he managed to promote her into one of the greatest American painters was reason enough to tune in. When she overtook him in fame, and we saw Allen's passionate portrayal, it was beautiful.

I have followed Stieglitz for 40 years via catalogs, books, videos, and exhibitions. I branched out to adore O'Keefe for her work, and, increasingly for her individuality and spunk.

This portrayal of the woman fills a much needed gap in her biography and that of Alfred. The harmonies played by the character weave a phenomenal presentation of these lives.

For anyone who has read biographies, autobiographies, or other papers on these two lives will easily fill the gaps in this abbreviated portrayal. If I get the chance this program will become a part of my own collection of these artists lives - It's a keeper.

Don't get me wrong, Allen and Irons are quite good in the film. (Irons seems to be channeling Daniel Plainview) Im just a little disappointed...

I personally would have liked to see her actually painting a bit more...or at least some insight to her thought process. The plot is really about her seemingly symbiotic relationship with Alfred Stiglitz.

There also seems to be a lot of gray areas in her later life that the film just sums up in a monologue, but Its a made for T.V movie...I guess we cant have everything. Something tells me it should (was it meant to be?) have been made into a feature. Its not bad, just could have been better.