Moondance

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In fairness to other review sites, you ought to edit the title of this thread to read, Don't trust Rentmen reviews.

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Vincenzo Galdi (1871-1961), born in Naples, was an Italian model and photographer. As a young man, he often posed for Guglielmo Plüschow, and may have been his lover. (Plüschow, 1852-1930, was a German photographer who moved to Italy, became known for his nude photographs of local youths and was often in trouble with the law.) Descended from an ancient Italian noble house (his father was a baron), Galdi enrolled at the Institute of Fine Arts in Naples. During his studies he was especially interested in optics and photographic technique, even building a camera with a telescopic lens by himself. In 1890, he moved to Rome and opened a photographic studio specializing in male and female nudes. He soon became as well-known in the field as Plüschow and Wilhelm von Gloeden, and is now regarded as a pioneer of Italian erotic photography. (He was the first to break the taboo against showing an erect cock.) Plüschow relocated to Rome about five years after Galdi, took a residence on the same street and the two continued to collaborate. In 1902, the year that Galdi married, Plüschow was charged with "solicitation to prostitution" and "seduction of minors" and was jailed for eight months. Another scandal followed in 1907, and, in 1910, Plüschow left Italy for good (returning to Berlin). At about the same time, Galdi gave up photography and opened the Galleria Galdi, an art gallery that remained in business until the end of the 1950s, when Galdi closed it due to old age and failing health. He died of prostate cancer at 90. Here, in 1890, photographed in the Posillipo area of Naples by Plüschow, Galdi is age 19: Again in Posillipo, 1890, at 19: In the early 1890s: And here, in 1895, Galdi is age 23/24:

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Peter Schlesinger (born in Los Angeles in 1948, now 70 years old) is an American artist, author and former artist's model who was the subject of many notable paintings by David Hockney including "Portrait of an Artist (Pool with Two Figures), 1972" and "Peter Schlesinger with Polaroid Camera." He was an 18-year-old student at UCLA when he met 28-year-old Hockney. They began an affair and Schlesinger relocated with Hockney to London, where he studied at the Slade School of Art. Schlesinger went on to pursue his own career as a visual artist, creating sculptures, paintings and photographs. The 1974 film A Bigger Splash (a sort of "fictional documentary," named after Hockney's famous painting) is about their breakup. On the left, Schlesinger in 1968, at age 20; and on the right, in 1970, at 22: Here, with Hockney, in A Bigger Splash, 1974, at age 26: A Bigger Splash: DVD Review Philip Horne admires Jack Hazan's artful 1974 film about David Hockney. By Philip Horne, www.telegraph.co.uk, 27 Jan 2012 Jack Hazan's slow, artful, disturbing 1974 film about David Hockney and his gay inner circle during the years 1971-73 has been described by Martin Scorsese as "one of the finest films I have seen about an artist and his work". Scorsese said he was inspired by its flat, alienated shooting style while shooting his own Taxi Driver the following year. Certainly the sense of quiet, dull, yet still tense rooms can be traced in Scorsese's film – maybe also the ironic counterpoint of sound and vision, the clash of apparently undramatic images with the superb, mournful score by Patrick Gowers. It’s a model too, more directly, for Scorsese’s unjustly neglected 1989 short film Life Lessons (his contribution to New York Stories), which also constructs a narrative round the rhythm of a famous painter’s preparation for a show, in relation to the love of an older artist for a beautiful younger one (only in that case a female one). It’s sometimes called a documentary, and it’s certainly a wonderfully shot document of its mostly rather drab time, but A Bigger Splash is, as Hazan has acknowledged, "all an illusion". It creates, by pre-planned staging and editing its own often surreal romantic fiction – of Hockney’s difficulties in producing work for his next show because of his break-up with the beautiful young Californian painter Peter Schlesinger. In a way the film is a piece of opportunism: and the supposedly sorrowing Hockney comes off better from it than the portrayed-as-narcissistic Schlesinger, who nevertheless cooperated fully with its makers (there is much nudity, and one explicit sex scene, highly controversial at the time).