An artistic and scientific giant gets the Ken Burns treatment in the documentary “Leonardo da Vinci.” The results are predictably pleasing.
The four-hour film – which Burns co-directed with his daughter, Sarah, and her husband, David McMahon – will air on PBS affiliates Monday, Nov. 18, and Tuesday, Nov. 19, 8-10 p.m. each night. Broadcast times may vary, though, so viewers should consult local listings.
Smoothly narrated by actor Keith David, who brings both warmth and energy to his task, the film provides viewers with an understanding of the political and cultural context into which Leonardo – who died in 1519, aged 67 – was born and within which he worked. Among the scholars who offer enlightening input is Msgr. Timothy Verdon, a New Jersey-born expert on sacred art.
The movie emphasizes the underlying connection between Leonardo’s career as a painter and his innovative forays into invention and engineering. It also suggests that his remarkably modern outlook and devotion to the study of nature – as well as to the humanism that was a hallmark of the Renaissance – may have led him to have a conflicted view of the Church.
When the narrative turns to Leonardo’s personal life, the fact that he was likely a homosexual is dealt with at some length. Together with the discussion of his illegitimacy, these portions of the film makes it unsuitable for kids, especially given that one of the relationships speculated about was with a male student of Leonardo’s who first joined his household when he was only 10.
Throughout the first installment, however, the documentarians’ approach to these topics is abstract enough to be appropriate for older teens. While the script points out that same-sex activity was widely – if only secretly – accepted in 15th-century Italy, no particular point about contemporary mores seems to be on the agenda.
“Leonardo da Vinci” is at its best when exploring the deep and complex meaning with which the artist imbued his paintings. This is especially true when Msgr. Verdon explains the theologically rich ideas expressed in his circa 1483-1486 work, “The Virgin of the Rocks.”
The movie’s treatment of Leonardo’s technological research, on the other hand – his study of optics, for instance – may strike some TV fans as a bit labored and difficult to follow. But these passages are undeniably informative, nonetheless.
This production marks the first time Ken Burns has devoted his renowned gifts to a non-American subject. The outcome bodes well for any future international period, incident or figure he may choose to examine.
