Review: ‘Final Portrait’ Watches Giacometti’s Paint Dry [The New York Times]
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Source: The New York Times
Photo Armie Hammer, left, and Geoffrey Rush in “Final Portrait,” written and directed by Stanley Tucci. Credit Parisa Taghizadeh/Sony Pictures Classics From the moment we hear the French cafe-style accordion music, we suspect that “Final Portrait” won’t be painting too far outside the lines. Chronicling roughly two weeks in Paris in 1964 when the Swiss artist Alberto Giacometti (Geoffrey Rush) asked a friend, the American writer James Lord (Armie Hammer), to sit for what would be his last portrait, this flimsy feature from Stanley Tucci is essentially a 90-minute conversation that feels like three hours. Confined for much of the time to an uncomfortable chair in Giacometti’s dilapidated studio, hair slicked back, attired in an immaculate coat and tie, Lord seems the stoic opposite of his unkempt, mercurial host. Photo Clémence Poésy as Caroline, a prostitute and a model for Giacometti, in “Final Portrait.”
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