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Love Is the Devil: Study for a Portrait of Francis Bacon

Love Is the Devil: Study for a Portrait of Francis Bacon

Drama · 1998

In the 1960s, British painter Francis Bacon surprises a burglar and invites him to share his bed. The burglar, a working class man named George Dyer, accepts. After the unique beginning to their love affair, the well-connected and volatile artist assimilates Dyer into his circle of eccentric friends, as Dyer's struggle with addiction strains their bond.

Movie details

Love Is the Devil: Study for a Portrait of Francis Bacon

“There's no beauty without the wound”

1998 Drama 1h 32m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

In the 1960s, British painter Francis Bacon surprises a burglar and invites him to share his bed. The burglar, a working class man named George Dyer, accepts. After the unique beginning to their love affair, the well-connected and volatile artist assimilates Dyer into his circle of eccentric friends, as Dyer's struggle with addiction strains their bond.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Love Is the Devil: Study for a Portrait of Francis Bacon?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

John Maybury

Written by

John Maybury

Derek Jacobi

Derek Jacobi

Francis Bacon

Daniel Craig

Daniel Craig

George Dyer

Tilda Swinton

Tilda Swinton

Muriel Belcher

Anne Lambton

Anne Lambton

Isabel Rawsthorne

Adrian Scarborough

Adrian Scarborough

Daniel Farson

Karl Johnson

Karl Johnson

John Deakin

Annabel Brooks

Annabel Brooks

Henrietta Moreas

Court is in session

Put Love Is the Devil: Study for a Portrait of Francis Bacon on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.