#caligula #mansfieldpark #poldark https://www.youtube.com/channel/UC5domZkB-eRa6BuFOO8OXaQ. https://dailymotion.com/bethfreed25
Starving Victorian artists call themselves the Pre-Raphaelite Brotherhood secure the modeling services of Lizzie Siddal with her long auburn tresses and another redhead, barmaid Annie Miller to be their muses and launch careers.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Starving Victorian artists call themselves the Pre-Raphaelite Brotherhood secure the modeling services of Lizzie Siddal with her long auburn tresses and another redhead, barmaid Annie Miller to be their muses and launch careers.
Starring: Tom Hollander, Aidan Turner, Rafe Spall, Sam Crane, Samuel Barnett
Category
🎥
Short filmTranscript
00:00This was the happiest day of my life.
00:23Here I was, me, Fred Walters, a close acquaintance of the three most radical and celebrated painters
00:30of their generation, the Pre-Raphaelite Brotherhood.
00:35It wasn't always like this.
00:38There was a time when they weren't considered fashionable.
00:41They weren't considered popular.
00:44They weren't even considered.
00:47But in spite of their faults, of which there were some, I always believed in them.
00:53Their enigmatic leader, Dante Gabriel Rossetti, a man whose full potential was often on the
01:01losing side in its battle with that other interest of the committed artist, the pursuit
01:05of beauty.
01:07John Millais, an artist whose modesty was the equal of his genius.
01:14And William Holman Hunt.
01:15He was a bit complicated.
01:19But of course, an artist is nothing at all without a subject, a model, a muse.
01:24First, they would have to find her.
01:49Can I help you, madam?
02:12Ah, yes.
02:13I like this very much.
02:15This is exactly what I was looking for.
02:28Fred?
02:30Fred!
02:32I'm sorry, sir.
02:45It's just too slightly.
02:55This one.
02:57Here.
03:05Now.
03:15Roderland can be woman or man.
03:24She has the most cheerful disposition.
03:27I think the problem with your girls is that they are too beautiful.
03:31We're looking for something more... more ordinary.
03:34There's a hunchback, works out of Marlaban Station.
03:37She's very much on the ordinary side.
03:43Mr Rossetti, Hunt, Millais, I think that I've found exactly what you're looking for.
03:49What are you talking about?
03:50I took the liberty of searching on your behalf for the perfect young lady.
03:55Shut up and answer me this.
03:58Is she a redhead?
04:00Hair like molten lava.
04:04She has to be both ordinary and extraordinary.
04:07I think you're flat she's all of those things.
04:09When I was at the academy I had the pick of models but now I can never seem to hang on to them.
04:13Vanity.
04:14All the promise of better money always drives them away.
04:17Which brothel did she say she worked out?
04:20I didn't.
04:21She works down there, at the back of a hat shop.
04:25Have you any idea how important it is for us to find the perfect model and you drag us
04:31to meet the hat shop girl?
04:32I promise you, you have to see her.
04:34They like the idea of modelling but when it comes to posing they simper like spaniels
04:39in heat.
04:42This is a complete waste of time.
04:45So please stay, they must finish soon.
04:48What's in this for you?
04:50I just want to help you in your mission.
04:53I believe in your values, to sympathise with what is true and serious and heartfelt in
04:59previous art.
05:00You like that do you?
05:03I wrote that do you know?
05:04I know Mr Rossetti.
05:05I know.
05:06I'm Gabriel.
05:07Call me Gabriel.
05:08You alright?
05:27She is truly spectacular.
05:29She's perfect for my soldier.
05:31I'll speak to her straight away.
05:33Not you, maniac.
05:36She should be approached by one who carries
05:37no sexual threat what so ever.
05:45Go on, Fred.
05:47Ask if she will marry for us.
05:58Excuse me.
05:59Excuse me.
06:02This is going to sound strange.
06:04It already does.
06:07These gentlemen here are the Pre-Raphaelite Brotherhood.
06:10Really?
06:11The Pre-Raphaelite Brotherhood?
06:13So you have heard of them?
06:14No.
06:15No.
06:17They are looking for models, just like you.
06:20Does my sister look like the kind of girl who'd be a model?
06:23They mean to paint girls living ordinary lives, which makes
06:26their beauty all the more striking.
06:29I'm sorry.
06:30I'm afraid that my mother would never allow it.
06:31She has my personal guarantee that your virtue
06:34and your reputation will remain intact throughout
06:36any professional engagement.
06:38I'm not sure my mother would be reassured
06:39by a young man's promises.
06:42What about the word of my mother?
06:48Your mother?
06:49What did you say that for, Mr. Waters?
06:51I thought I was inspired, Fred.
06:54Well, I hope a shop girl doesn't need my mother
06:55to vouch for my reputation.
06:57The entire world knows you're no threat to the ladies, John.
07:05Where does an artist start if he is to change the world?
07:08At the centre of that world, the Royal Academy.
07:11Hunt and Millais had already been
07:13accepted for its exhibition.
07:14Adoration and celebration of their radical style
07:17was sure to follow.
07:20I don't believe this.
07:21What a regal cheek.
07:24Who did this?
07:25Hey, who committed this intolerable act?
07:28I'm going to give you a voice-down.
07:29Hold on.
07:30There's something troubling you, gentlemen.
07:32We were just a little concerned about the position
07:35of our paintings.
07:36What appears to be the problem?
07:39The problem isn't so much that you put the work of these two
07:42men of genius so, so far above the line
07:46that you want them to be.
07:48So, so far above the line that you would
07:51need a ladder to see them.
07:52It is what you put on the line.
07:55On the line, Mr. Stone.
07:58I mean, look at this.
07:59I've seen stains on a chamber pot with more artistic merit.
08:03If you don't like the paintings of Mr. Hunt and Mr. Millais
08:06hanging above the line, then there is a solution.
08:09I'm good.
08:10Glad to hear it.
08:11We'll take them down all together.
08:13Mr. Cooper, please bring a ladder.
08:15Let's not be too hasty here, Mr. Stone.
08:16Mr. Millais, when you came to us as an 11-year-old,
08:19I could see you were destined for great things.
08:22But by lining yourself with a bunch of pavement artists,
08:26you aroused the Academy's utter disgust.
08:28The Academy's utter disgust is what gets us
08:31all out of bed in the morning.
08:32Well, I wouldn't go that far.
08:33Where is the naturalism?
08:36Where is the life, the flesh, the blood, the nature?
08:41Mr. Rossetti, I have one piece of advice to you.
08:45Learn to paint.
08:48Mr. Hunt and Mr. Millais, I have one piece of advice for you.
08:53Lose the idiot.
08:54We are a brotherhood, Mr. Stern.
08:57We will never desert each other.
09:00You just remember who we are.
09:02You just remember who we are.
09:16Isn't that?
09:18It's Ruskin.
09:23Mr. Ruskin, it's an honor to meet you.
09:26I have read all your books.
09:30Not always to the end, admittedly, but, well, you know,
09:36enough to get the gist.
09:39I give you John Millais, child prodigy, on the list.
09:43Child prodigy, on the verge of puberty.
09:47William Hellman Hunt, painter, pugilist, and myself,
09:52Dante Gabriel Rossetti, artist, poet, half Italian, half mad.
10:01I enjoyed your Isabella, Mr. Millais.
10:04Oh.
10:06Well, thank you.
10:14Oh, my God.
10:20Why didn't you offer him the painting right there and then?
10:23I sold it 12 months ago before I joined the brotherhood
10:27and people still bought my works.
10:28So sell it again.
10:30I once sold a sketch 14 times over and it's still in my wardrobe.
10:34Well, I hardly think I can go and remove it from my buyer's
10:36wall.
10:39John Ruskin says he likes your painting.
10:42Then you offer him that painting, and then the next one,
10:45and the one after that, and then ours.
10:49John Ruskin says yes, and the world of art follows.
10:51That's a perfect plan, Gabriel.
10:53Spoiled by one tiny detail, we've
10:54yet to secure the services of the Hatshop stunner.
10:57Our good friend Fred here is going to take
11:00his mother to vouch for us.
11:01We can hardly split her three ways, can we?
11:03I think you'll find I have the first pick of all redheads.
11:06I have the exact painting I need her for.
11:07I'm sure my need is greater.
11:09But our eyes met.
11:10There was an instant connection.
11:12Well, that hardly gives you any claim on her.
11:14She models for me.
11:15I need an angel.
11:19She models for me.
11:35Bread, mutton stew, and a little leftover cheese, perhaps.
11:40Landlord says to stand you no more credit.
11:42Oh, tell him I paid him a portrait.
11:43He did him one already, and he said the arms were all wrong.
11:49I think his sense of perspective
11:52is much compromised by gin.
11:57Would you consider sitting for me?
11:59Me?
12:02A model?
12:04Don't think so.
12:06I could just capture that.
12:08The pulse that flutters, just, just there.
12:18Mutton stew, was it?
12:21And a little cheese, if the mice can spare it.
12:31Mr. Rossetti, where is my painting?
12:35I'm working day and night, sir, but you either
12:37pay me back the money you owe me,
12:39or deliver the picture in one week's time.
12:41Yes, yes, yes, of course.
12:43Of course.
12:50There we go.
12:51Smoothed it over with my patron.
12:53Got myself a model.
12:55I'll have a masterpiece in three weeks.
12:57A masterpiece with no gallery to hang in?
12:59Oh, it will have a gallery.
13:01Don't you worry about that, Johnny boy.
13:03Where?
13:04No gallery will take us as long as the Academy hates us.
13:08But we have John Ruskin.
13:09Barely acknowledged us.
13:10We've met.
13:11How can he possibly refuse an invitation
13:13to see more of our work?
13:14Well, how do you propose to get him to do that?
13:16We invite him to our exhibition.
13:19What exhibition?
13:21Perhaps I could help to publicize such an exhibition.
13:24I do have one or two well-connected friends.
13:26There we are.
13:27Fred is going to advertise it, so that is settled.
13:30So, such an exhibition does not really exist
13:33unless Mr. Ruskin becomes involved,
13:36but he has not yet agreed to his involvement.
13:38That, my friend, is the beauty of the plan.
13:41This is it. This is Ruskin's house.
13:44It's this one, definitely.
13:46Come on.
13:50Come on. I've got it.
13:59For God's sake, Johnny, try and make a little less noise.
14:02It's the gin. It's the gin that's making the noise.
14:06Not me.
14:19Now all we need is a model.
14:35SIGHS
15:05SIGHS
15:35SIGHS
16:06To capture a man of Ruskin's moral certainty and judgment,
16:10the Brotherhood needed to secure a model.
16:13For that, they needed me.
16:15And I... I needed my mother.
16:22And you say you're in the cutlery trade, Mr. Siddle?
16:25That is correct, madam.
16:27That is one of my spoons you are using right now.
16:30I'm sure Mrs. Walters has no interest in that.
16:33I'm sure Mrs. Walters has no interest in spoons, Mr. Siddle.
16:37Although, by rights, I should not be in trade at all.
16:40Much like yourself are propertied, gentlemen.
16:43The rightful owner of Hope Hall in Yorkshire,
16:46which you may well have heard of.
16:48When the ancestral home is duly restored to its rightful owner,
16:52you and I will be very much on an equal footing.
16:55Perhaps we could curtail our ramblings amongst the dead
16:58and get down to the business of the living.
17:00And the making of a living?
17:02I can assure you there will be no impropriety.
17:05And I can promise you that Fred is a good young man
17:08who would not lead Miss Siddle into any circumstances
17:11that would compromise her reputation.
17:15Father, the Pre-Raphaelite Brotherhood
17:17are very famous indeed within artistic circles.
17:20Particularly their own circle, all three of them.
17:26Mr. Holman Hunt is in fact...
17:28Why, are you determined to ruin my chances of a better life?
17:31A better life? An artist's model's little more than a whore or an actress.
17:35I walk five miles to work and back every day,
17:38making hats I will never be able to afford
17:41for ladies who should know better.
17:43And, of course, we will pay a shilling an hour.
17:45A shilling?
17:46Well, I can't say yes immediately.
17:48We'd be delighted to take you up on your offer.
17:51Lizzie has always had a very keen interest in the arts.
17:55Miss Siddle was delighted to be whisked from her old life
17:59into this new and glamorous world.
18:02Little realising that before art succeeds,
18:06it must first suffer.
18:09And no-one suffered with quite the determination
18:13of William Holman Hunt.
18:17Papa! Papa! Papa!
18:20Papa! Papa!
18:22Just... Just...
18:26Pa-pa-pa-pa-pa-pa-pa-pa-pa!
18:30You sick maniac! You could have warned us!
18:33Miss Siddle, please avert your gaze.
18:41Unlike Gabriel,
18:43we're not all slaves to our lust, Fred.
18:53Beautiful.
19:08Now, your, er...
19:10Your costume is behind the screen
19:12and there's a hair tie for you to tie your hair back.
19:22MUSIC PLAYS
19:52MUSIC STOPS
20:13Are you ready, Miss Siddle?
20:23No.
20:25Er, if you would like to kneel down here, Miss Siddle.
20:33Perhaps this cushion will make you more comfortable, Miss Siddle.
20:37And the position is quite respectable,
20:39given its historical accuracy.
20:41Since Sylvia's a character from Shakespeare,
20:43how exactly is it historically accurate?
20:45Miss Siddle, you have been posing for me now for less than two minutes.
20:49And in that time, you have spoken more than my last model spoke.
20:52In six months.
20:54And what was she wearing?
20:56She wasn't.
20:58It was a nude study.
21:04I've been evicted.
21:06Unbelievable.
21:08A misunderstanding over rent.
21:10And the brutal landlord has sent me packing.
21:13Evicted?
21:15My God, what are you going to do?
21:17Nothing I can do. No tin.
21:19I must have moved back in here.
21:21No.
21:24You remember Miss Siddle, my new model?
21:26OUR new model.
21:28She's posing for my new piece
21:30based on the last scene of The Two Gentlemen of Verona.
21:33It's a tale of morality overcoming sexual urgings.
21:37A tale so frequent in art
21:40but so rare in real life, eh, Miss Siddle?
21:44Please, Gabriel.
21:46You recognise it is your destiny to sit for me, don't you?
21:48A sharp girl can't afford to believe in destiny, Mr Rossetti.
21:59There were many advantages to hanging out with the glamour boys.
22:03But perhaps the greatest advantage of all
22:05was that sometimes a girl wasn't impressed by all that wit and bluster
22:10and might even find herself wanting the quiet one in the corner.
22:15They were a steady type.
22:17And I was as steady as they came.
22:33Mr Waters, I can only thank you.
22:36Miss Siddle is a wonderful discovery.
22:39I have great plans for her.
22:41She has a high state of neck, does she not?
22:44Sucked in as if it strives to kiss itself.
22:46Sucked in.
22:51I mean to raise her up from her humble beginnings,
22:56to educate her in the arts
22:59and then, eventually, to make her my wife.
23:04Your wife?
23:05If there is anything more attractive
23:08than a working woman with potential,
23:11then God is yet to show it to me.
23:13I couldn't help seeing her potential
23:15peeping out of the gap where her fastenings didn't meet.
23:24Do you think Hunt meant it about marrying Lizzie?
23:28Because, well, if the truth be known, I'm rather sweet on her myself.
23:35So the Pre-Raphaelite Brotherhood,
23:38the group of radical young painters
23:40who announce themselves by thrusting notes through letterboxes
23:44in the middle of the night...
23:45I apologise if we were a little overzealous.
23:47There's no time to waste.
23:49The revolution is needed,
23:51which is why you must attend our exhibition, Mr Ruskin.
23:54I'm sorry.
23:55If I attended every exhibition to which I was invited,
23:58I'd go insane.
24:01CLASSICAL MUSIC PLAYS
24:08Crystal waters. No more interfering.
24:11No, no, no, no. Let him go.
24:22The young artists of England should go to nature in all singleness of heart
24:27and walk with her laboriously and trustingly,
24:31having no other thought but how best to penetrate her meaning,
24:35rejecting nothing, selecting nothing and scorning nothing.
24:42Your word, sir? I'm aware thou my words.
24:45You could be describing these very artists.
24:49Men who are committed, like you,
24:53to what is true and real and heartfelt.
25:01Very well, then. I shall visit your studio and see your work in progress.
25:04And if it lives up to your manifesto, I shall attend your exhibition.
25:08And if it does not, will you please leave me alone?
25:12It's a promise, sir.
25:13Although the work will be good, sir.
25:16Very well. Next week, then, Friday?
25:18That would be perfect, sir.
25:23BIRDS CHIRP
25:33Fred, Fred, Fred, I thought you were a little more than a hanger-on.
25:36We need to make you an honorary brother immediately.
25:38Really, sweet, be done, Fred, I could kiss you.
25:40I don't know why you arranged it so soon.
25:42You know, it takes me a week to sharpen a pencil.
25:45Ha-ha!
25:47Woo!
25:52THEME MUSIC
26:22THEME MUSIC
26:28Oh!
26:30THEME MUSIC
26:51Sam, thank you.
26:59If you don't object, I was going to make a few notes,
27:02because I'm going to record your views from...
27:07I have yet to find the perfect model.
27:10Hence the lack of face and hair on the Virgin Mary.
27:15And the lack of paint.
27:19Perhaps you're afraid of oils.
27:21Yes, working in oils on something brand new.
27:24It's about a fallen woman.
27:26Well, there's possibly no greater subject than the fallen woman.
27:38There's a beauty of extreme minuteness and precision here.
27:44John. Thank you.
27:47I was worried it might be a little too... real.
27:51Beauty deprived of its proper foils and adjuncts
27:54will cease to be enjoyed as beauty.
27:57Wasn't I saying that very thing just this morning?
28:00I must have missed that.
28:08The model. She's new.
28:10Her name is Miss Siddle.
28:12I'm painting her next.
28:14Common feature, sluttish type.
28:16Sluttish?
28:19Do you think so?
28:21Surely that's the composition. Pipe down, Fred.
28:26So you think Sylvia's face is unsuitable, then?
28:30Well, you've painted a woman displaying sexual appetite
28:34and that is never attractive.
28:42So we'll see you at our exhibition, then, Mr Ruskin?
28:47I'm sorry. Perhaps another time.
29:07My parents have already paid for the whole.
29:11How will I break this to them?
29:13Well, you'll just have to cancel it.
29:15And press on with our ambitions.
29:17You have to go ahead with the exhibition
29:19because I have placed an article.
29:21On your behalf.
29:24In the weekly dispatch.
29:26Page three.
29:31Unfortunately, I do mention that Ruskin will be there in support, but...
29:34You did what?
29:36Well, you all seem so confident he would like your work.
29:38As you were, that Miss Siddle would be the perfect model.
29:40As she will be.
29:44I also wrote that in the article.
29:58I'm going to find a new model.
30:02I'm going to paint over Miss Siddle's face.
30:05And I'm going to beg Ruskin to give us a second chance.
30:07Very sensible, maniac.
30:09Miss Siddle's feelings count for nothing.
30:11For a word of praise from Ruskin, I'd paint over my mother's face.
30:15What kind of revolutionary are you?
30:17A very hungry one.
30:19Now, try a shot of the best condolence for the collapse of ideals.
30:24Drink disagrees with me.
30:26Me too.
30:28But I enjoyed the argument.
30:30At least assure me that you will break the news to Miss Siddle
30:33with some regard for her feelings.
30:35What do you take me for?
30:38I'll handle it with gentleness and sensitivity.
30:57The husband should fulfil his marital duty to his wife,
31:00and likewise the wife to her husband.
31:03The wife's body does not belong to her alone but also to her husband.
31:07Are you ill? You seem to be babbling.
31:09In the same way, the husband's body does not belong to him alone
31:12but also to his wife.
31:141 Corinthians 7, verses 3 to 5.
31:19Just as I thought, your sickness is returning.
31:21In which case God is sick, John!
31:23How dare you bring God into this?
31:25Is he anyone you consider good enough to listen to?
31:27Just cover yourself up.
31:29God!
31:31We have been married for five years!
31:35And in that time you have kissed my shoulder four times,
31:38cupped my breast in your hand twice,
31:40and once nuzzled my neck and whimpered like a dog!
31:43I thought you understood that this marriage was based on mutual love,
31:46mutual respect and companionship.
31:49I need more.
31:51No woman needs more.
31:53You go quite against nature when you demand it.
31:56Please, tell me what I can do to help you overcome your fear.
32:01Please tell me what it is you dream about.
32:04I am...
32:06You are... You are what?
32:08You are what, my love?
32:10I am very, very...
32:15..disappointed in you.
32:26DOOR CLOSES
32:42Are you buying?
32:44I'm in no mood for time wasters.
32:46I want to save you.
32:48Perhaps you could try, lovey.
32:50Perhaps you could try.
32:53DOOR CLOSES
33:10I thought we could make an early start today.
33:17You've got to be Lizzie.
33:20I'm right, aren't I?
33:22Recognised you straight away from the painting,
33:24so you must know what he's doing then, eh?
33:27When he first told me he only wanted to paint me,
33:29I thought, well, I've never heard it called that before.
33:32But he's been as good as his word.
33:34Sketch, sketch, sketch all night.
33:36Bit of Bible reading, not as much as half a penny's grope.
33:40Mr Hunt?
33:42Miss Settle.
33:44Er...
33:49I'm afraid there's a problem with your look.
33:52Just for this particular work.
33:54A problem that wasn't apparent until Mr Ruskin viewed it.
33:57No, but once he... Once he pointed it out...
34:00Am I permitted to know the nature of this problem?
34:06Ah. Miss Settle, I... I tried to intercept...
34:09I think perhaps it would be courteous to offer me some explanation.
34:13Mr Ruskin considered you to be sluttish, love.
34:17Is this true?
34:19I don't think he phrased himself quite so crudely, Miss Settle, no.
34:23So, why did you tell me you did, then?
34:26Fred, is this true?
34:47SOBBING
34:49No.
35:13What do you think sounds better, Fred?
35:16A failed model or a disgraced shop girl?
35:19You're not disgraced.
35:21It's not what my former employer just told me.
35:23She said I'd be a whore within the month.
35:25I will not let that happen.
35:27You're beautiful.
35:29And I will see to it that your beauty is shared with the world.
35:37There's a stroke of luck.
35:40You are a lifesaver.
35:44Could you spare the tin for a hot drink?
35:46No nourishment has passed my lips for days.
35:48It would be my pleasure.
35:50Excellent.
35:52A large pot of coffee and perhaps some bread and cheese?
35:56Violet?
35:58Now, Miss Settle,
36:01shouldn't you be inspiring Hunt's salvation?
36:04He thinks I'm Duhall-like.
36:06He didn't actually say that.
36:08He's dispensed with my services.
36:10Good.
36:12I'm leaving.
36:14The reason I said good
36:17was because I have wanted you to sit for me
36:19since I first laid eyes on you.
36:21Please do not humiliate me.
36:23I know you're the one.
36:25I know you are going to change everything.
36:29Look at you.
36:31I mean, look at you.
36:34Your high, stately neck
36:37and your lower lip
36:40bend in as if it strives to kiss itself.
36:42And I think you're mocking me.
36:44Then why would I want you to sit for me?
36:52You could come back twice.
36:54In my naivety, I felt almost flattered
36:57that Rossetti had chosen my words
36:59to make the woman I loved feel better about herself.
37:02Perhaps next time I would summon up the courage
37:06to say what I really felt.
37:11Remember, you are a woman who is afraid,
37:14who is about to be ravished,
37:18who is an object of lust.
37:20What if I just popped a breast out or something?
37:23Nothing's sorted.
37:25No, no, no.
37:27Lead us not into temptation.
37:29I meant just the one,
37:31just to make it clear what was on offer.
37:33I think that would be perfectly clear
37:35without you exposing yourself, Miss Miller.
37:41Shh.
38:01You know, Miss Miller, I think this is completely wrong for you.
38:04Well, it was nice, wasn't it, Lord?
38:06No, no, not the modelling.
38:08I think we should be painting something
38:10that tells me something of... of you.
38:13Of your life.
38:26Who on earth rented this out to you?
38:29The owners are away, so I'm looking after it.
38:33And they wanted you to stay here.
38:36Well, I'm sure they would if they knew me.
38:56What do you think, Miss Hiddle?
38:58I'm not sure you're paying me for my opinion.
39:01So much the better.
39:03I can rely on your honesty.
39:07None of them are complete.
39:09And that is your only response.
39:12So you were looking to be flattered.
39:14Don't attack flattery.
39:16I think too many people have flattered you for too long.
39:21I think all this talk of your brilliant potential
39:24has turned your head and bowed you back.
39:27Ah, but you do at least think I have potential.
39:31You and every rag and bone man in London.
39:34If you were this direct in the hat shop,
39:36it's a wonder you ever sell so much as a ribbon.
39:38I am always truthful.
39:40I'm sorry if you're not used to that.
39:43So tell me the truth.
39:46Why did you decide to sit for me?
39:48Because it seems I have no choice.
39:50Because my reputation is so damaged already
39:52by my brief modelling career
39:54that no respectable establishment would take me on.
39:57And because you feel at home, hmm?
40:00What do you mean?
40:02I saw your eyes the first time Fred Walters spoke to you
40:05inside that wretched hat shop.
40:07I saw the excitement there
40:09that your life might be going somewhere different.
40:12Someone new.
40:16I am correct, though, aren't I?
40:20Reject the world before it rejects you, Miss Siddle.
40:25Embrace a new way of being.
40:27Embrace a new way of being.
40:32That way you will always have the upper hand.
40:37I will sit for you in one condition.
40:39Which is?
40:40You give me drawing lessons.
40:42Drawing lessons?
40:43Well, if I'm to become part of your world,
40:45then at least arm me with the skills to make a living
40:48should you reject me as brutally as Hunt.
40:51That isn't going to happen, Miss Siddle.
40:54And I assure you that...
40:56that isn't going to happen.
41:02No, I think this is a much more fitting composition for you.
41:05A troubling combination of temptation spurned
41:08and temptation accepted.
41:12Temptation?
41:14Yes.
41:16Temptation.
41:18Um, there will also be a young shepherd.
41:22He will be neglecting his flock of sheep,
41:24which will be behind you here,
41:26and he will have his muscular arm...
41:32over you like so.
41:47May I be frank with you, Andy?
41:50It seems to me you're really anything else.
41:52You're a virgin, aren't you?
41:55I hardly think that's relevant.
41:57How can you paint temptation without knowing what's on the other side?
42:00I know what it is to be tempted.
42:02That is good enough.
42:04But you don't know what it's like to give in.
42:12What were you thinking about?
42:17Jesus Christ!
42:19He'll forgive you, Andy. That's what he does.
42:22Can't you see?
42:24He doesn't look angry.
42:26He just looks disappointed.
42:28I think that's just the way you've painted him.
42:33This is it.
42:37My parents have agreed to pay the rent for a full week.
42:42They said it's the last time they'll subsidise me.
42:46What do you think, maniac?
42:49I'm sorry. I'm feeling a little spent.
42:58Thank you, maniac.
43:01For what?
43:03For your stupidity
43:05and letting a stunner like Miss Siddle slip through your hands.
43:08It was only the want of a model that was holding me back.
43:10And your want of application.
43:12Oh, but look. Look!
43:15She transforms my style.
43:17It's true, Gabriel.
43:19This looks like the work of an artist.
43:21I know. I know.
43:24Are you saying everything I did before was shit?
43:27I think Johnny means the improvement is truly remarkable.
43:30You're right.
43:31She is the key that unlocks the treasure of my talent.
43:35Nothing will ever be the same again.
43:38That much is true.
43:40Now it's down to you two to persuade Ruskin's wife
43:44to bring John Ruskin to our exhibition.
43:46What?
43:48You two sweet whelps are going to call her Mrs Ruskin?
43:51You will charm her and you will persuade her to persuade her husband to attend?
43:55If the future really matters.
43:57Oh, you've not lost another model, have you?
44:00No, no.
44:02Miss Annie Miller will present an even greater challenge than Miss Siddle.
44:06I mean to transform her, to educate her,
44:09to give her lessons in manners and literacy.
44:12Maybe cleanliness, too, if it's the Annie Miller I'm thinking of.
44:17Don't you speak of her like that!
44:19Don't you use her name like that.
44:21Oh, my God.
44:23You've launched her, haven't you?
44:26Oh, you have, haven't you?
44:28A maniac would no more succumb to temptation than Christ in the wilderness.
44:32Christ in the wilderness never met Annie Miller, as far as I can recall.
44:36The New Testament might have been a very different book if he had.
44:40I really thought better of you than that, William.
44:43No.
44:45I am very ashamed.
44:47Oh, hey. Don't worry about it.
44:50I'm sure you'll get better with practice.
44:53I'm ashamed of the depravity.
44:55Not the mechanics.
44:57When you say depravity, would you care to elaborate?
45:06Pity's sick, maniac. What's got into you?
45:10I don't think what's got into him is the issue!
45:21We have, in fact, met once before, Mrs Ruskin.
45:24Really?
45:25Yes, at Yule Castle.
45:27I had rather boldly asked to be introduced to you,
45:30but you had made it quite clear that I bored you.
45:33A terrible assumption, for which I now apologise.
45:36Oh, no, no, you were quite right.
45:38I was such a precocious little upstart.
45:40I cannot imagine you being anything other than charming.
45:45And what about you, Mr Walters? Have we also met before?
45:48I doubt that.
45:50But it would be a great pleasure if we could meet again.
45:55At our exhibition.
45:57If you were to accompany Mr Ruskin.
46:09I will try to persuade Mr Ruskin to attend.
46:12And you must come too, Mrs Ruskin.
46:14We absolutely insist. Even if you were to come alone.
46:17We are very unconventional and most fond of ladies coming alone.
46:21Fred, try not to be too modern. You will shock Mrs Ruskin.
46:27I shall insist that Mr Ruskin attends.
46:30We have not socialised since we returned from Venice
46:33and I sense we are becoming rather dull.
46:36Well, that could never be the case.
47:36MUSIC PLAYS
48:06LAUGHTER
48:24Weak, puerile, unintelligent.
48:30Great art is precisely that which never was, Mr Stern.
48:37Did you see that guy?
48:39Hey, any sign of Ruskin?
48:41Not yet. I was wondering if you could give me some advice.
48:45I've grown quite sweet on a certain young lady.
48:48What did his wife say exactly?
48:50I was wondering if it would be a good idea to call to Miss Siddle.
48:53Sorry, darling. It's a disaster.
48:55You'll have to excuse me, Fred. Johnny is crying again.
49:00Hello, love.
49:02Got your face on a painting in the end, then?
49:06That's me. That is love.
49:09Where's Ruskin?
49:11I don't know. You did give them the right date, didn't you, Johnny Boy?
49:15It's different for you. You've never been popular. People used to love me.
49:20This date can get no worse.
49:22It just did. Charles Dickens just walked in.
49:26He hates us.
49:28Oh, perfect.
49:30It's Chadwick. Talk to me.
49:32What?
49:34Say something.
49:39The thing about...
49:41Ah, Mr Rossetti.
49:43Chadwick.
49:45I've come for the money I roared.
49:52Gabriel, he's here.
49:55Gabriel, he's here.
50:00Which of these young men persuaded you to attend?
50:03He's here, Johnny.
50:05John Millay. A very sweet young man.
50:08Indeed he is.
50:10Well, I'm encouraged by your renewed interest in the arts. Most encouraged.
50:17Why didn't you just paint something like this for me?
50:20I didn't really think it was what you had in mind.
50:23What, with the complete absence of dogs and feel?
50:28Who needs feels when you've got a model of this magnitude, Mr Rossetti?
50:34I want to spend the rest of my life drawing just you.
50:43I'll take this in exchange for the money I advanced you. Then we'll call it straight.
50:48Well, unfortunately, it's worth rather more
50:52now that Ruskin has given it a seal of approval.
50:55Ruskin? Really?
51:00Well, what would you think was a reasonable price?
51:06£50, maybe?
51:10Well, at that price, maybe I should just check
51:13if Mr Ruskin's opinion of you is as high as you say it is.
51:18Behold, the carpenter's shop.
51:23Behold, a hideous, wry-necked,
51:27blubbering, red-headed boy
51:30who appears to have received a poke in the hand.
51:34The attempt to associate the Holy Family with the meanest of details
51:38of the carpenter's shop is disgusting. Pictorial blasphemy.
51:42And that snuffy old woman seems to have mistaken that shop
51:47for the tobacconist's next door.
51:52Looks like your price just went back down to £5, Mr Rossetti.
51:55Of course, Wordsworth mocked Turner.
51:59Mr Ruskin? Wordsworth said of Turner,
52:01it looks as though the painter had indulged in raw liver until he was unwell
52:05and a room full of critics like yourself stood and laughed.
52:09At Turner.
52:12So when I hear the laughter of critics, I'm compelled to pay attention.
52:16Surely you aren't comparing these young men to Turner.
52:19I think, in spite of their unfortunate name,
52:22the Pre-Raphaelite Brotherhood may, as they gain experience,
52:26lay in our England the foundation of a school of art
52:32nobler than the world has seen for 300 years.
52:36Nobler than the world has seen for 300 years.
52:41I'm perfectly sincere in these opinions.
52:44I shall be writing a letter to the Times to that effect in the morning.
52:49Good day.
52:51Did you see Dickens' face?
52:53Far more than I imagined it to be.
52:55No!
52:57What about us?
52:59All in all, I think we can safely say that we've had a very good day indeed.
53:03To the Brotherhood!
53:07An exhibition that began with no art, no hall and no patrons
53:11had delivered critical acclaim, money and Ruskin for a champion.
53:17Millais, Rossetti and Hunt had conjured success from the illusion of success.
53:22And in doing this, they had not just transformed their own lives,
53:26but Annie's and Lizzie's and, I hope, mine.
53:30All of us were embarking on a journey with Rossetti at the helm.
53:34And at that moment in time, none of us wanted to be anywhere else.
53:59© BF-WATCH TV 2021