Goltzius And The Pelican Company

Goltzius and The Pelican Company is a markedly creative, riveting and atypical movie released in 2012, directed by the prestigious English director and writer, Peter Greenaway. This film serves as a colorful chapter in the life of the 16th Century Dutch printer and engraver Hendrik Goltzius. Wonderfully portrayed by Ramsey Nasr, the character of Goltzius transfigures Greenaway's fantastical narrative into a fascinating blend of history, art, philosophy, and sexuality.

The movie is set in 1590, taking viewers back to the heart of the Renaissance in Europe, a time marked by tremendous developments in thought, culture, and scientific progress. The movie features Hendrik Goltius, a master engraver and printer in the Dutch Republic, who is also in charge of The Pelican Company printing press. As the story unfolds, Goltzius and his troupe arrive at the court of the wealthy Margrave of Alsace (F. Murray Abraham), driven by the quest for funding for a high-quality printing press to publish illustrated versions of biblical erotic stories.

However, winning the Margrave's favor is not a straightforward task. In an eclectic blend of theater, graphic art, and storytelling, Goltzius and The Pelican Company perform a series of erotically-charged and thought-provoking playlets based on six different erotic biblical tales. Each story falls under one of the main themes reflecting the "sexual taboos" of the time — incest, extramarital sex, prostitution, rape, adultery, and necrophilia.

In their immersive performances woven with erotic narrative, Goltzius and his troupe dare to challenge societal norms, the Bible's prohibitions as well as the fine line between eroticism and morality. Questions of power, desire, sexuality, censorship, and the nature of storytelling play out in this drama, pushing the boundaries of political and personal freedoms. Through Goltzius's spellbinding narrative and Abraham's intriguing performance, the film explores the power of both visual and verbal storytelling to challenge conventions, reap monetary rewards, and delve into the most audacious censorship battles.

The film places great emphasis on ensuring a visual spectacle with a stunning production design that reflects the period accurately. The sets and costumes have an immersive quality, transporting viewers to the 16th century effortlessly. The film is rich in aesthetic beauty, capturing the delicate details of artworks and theatrical performances even as they merge with groundbreaking digital technology. In bringing to life the works and persona of Goltzius, the movie exemplifies a blend of classic art and contemporary filmmaking techniques that underscore the director’s keen eye for unprecedented visual storytelling.

The exquisite lead performances by Ramsey Nasr as Goltzius and F. Murray Abraham as The Margrave add essence to the visual feast. Nasr brilliantly brings Goltzius to life with an eccentric mix of charm, creativity, manipulation and intellectual shrewdness, embodying an artist's struggle for liberty and acceptance. Abraham, as the Margrave, offers a compelling portrayal of authority and indulgence, struggling between patronizing the arts and maintaining societal order.

In Peter Greenaway's characteristic filmmaking style, the movie bridges the gap between art, film, history, and philosophy. It's an innovative narrative, filled with deep philosophical discourses that delicately balance the visually explicit content. Greenaway goes beyond providing mere entertainment, his narratives provoke thought, pushing viewers to question established norms, societal powers, and censorship.

Goltzius and The Pelican Company is a film to watch not just for its erotic content, deep historical context, and superb performances, but also for its unique narration that blends theater, art, philosophy, and pictorial storytelling. It is an excellently crafted film that brings into sharp focus the conflicts of the Renaissance without compromising its modernity, proving yet again Peter Greenaway's extraordinary capability of pushing boundaries in filmmaking.