One critic suggested the obsession driving the construction of “Paris’s grand folly” had rubbed off on the director, Martin Bourboulon, who signed off on the film only after four years, describing it as “a well-modulated melodrama … perfectly warm and undemanding”.Īnother critic said Bourboulon had brought the story of the tower to life “while embellishing and entangling it with a love story which is, not to put too fine a point on it, a complete load of bollards from beginning to end”.Įiffel dramatically portrays the anger the building of the tower provoked. The film suggests he did so after bumping into Bourgès, who he had wanted to marry years earlier, rekindling their relationship despite the fact both were married and she to a politician who it suggests holds sway over Eiffel’s tower plans.Įiffel received mostly positive reviews when it was first premiered in Australia earlier this year. Historians have never established exactly what changed his mind.
The engineer had been reluctant to take on the project he and architect Eugène Viollet-le-Duc – of Notre Dame Cathedral spire fame – had just finished building an iron and steel skeleton for the Statue of Liberty in New York and Eiffel was more interested in working on the Paris Métro system. The film, directed by Martin Bourboulon, claims to be “freely inspired” by the historical facts and accurately shows how Eiffel was an unpopular figure in late 19th century Paris when his plans for the 10,100-tonne iron tower, intended to be a symbol of French industrial savoir-faire for the 1889 Universal Exhibition, were unveiled.
#EIFFEL TOWER PAINTING SERIES#
Eiffel, starring Romain Duris, is a period drama that suggests the tower’s A form was a constructed tribute to Eiffel’s first great amour, Adrienne Bourgès, played by Emma Mackey of the Netflix series Sex Education.
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