Henri-Georges Clouzot, the French director of the masterpieces "Les Diaboliques" and "Le Salaire de la Peur" convinced his friend Pablo Picasso to make this documentary, painting twenty paints in front of the cameras. Using some special technique, Clouzot filmed from the other side of the canvas or stop-motion, and the result is this movie, where two geniuses are gathered: one behind and the other in front of the camera. In accordance with the information on the DVD, the canvases have been destroyed in the end of the shootings. Further, in 1984, the French government declared this documentary a national treasure. Clouzot and Picasso deserved this beautiful homage. My vote is eight.

Title (Brazil): "O Mistério de Picasso" ("The Mystery of Picasso")

The Mystery of Picasso is to painting what Woodstock is to hippies: it's a definitive piece that comes only once in a very great while. Cluzot, the director, is innovative by just letting Picasso go on with his work, and like a good concert director only gets so much in the way to make it interesting as a piece of cinema. What we get here are almost two dozen pieces from Picasso- who, already in his old age, can still paint not only like some fiery master but with an A-game every step of the way- and the camera films it from the other side of the canvas most of the time, capturing what goes on it in a seamless style. We're never aware of a brush going onto the canvas, or color being added on from the paintbrush itself, but we know there's creation because we're seeing it made in front of our eyes. It's exhilarating if you're the right kind of audience.

And by 'right kind of audience' I mean the kind that has an affinity or interest in art, and particularly for Picasso. I'm not art critic, so I can't pretend to go completely in-depth on all of Picasso's pieces, or explain definitively why they're good or crappy or masterworks. It is my opinion that Picasso's works are total originals, and they're like surrealist works from a childlike perspective, though still with a pure sense of the anarchic that we expect from such artistic rebels. But with certain drawings, like the two men staring at the woman, or the bullfighter and the bull, or that strange (dare I define which is stranger than one or another) picture of the flowers, or that creepy chicken, you don't really know what's going to happen next with the drawing or painting (especially if it's one of the ones in color and done in stop-motion),and this, alongside excellent and varied music, puts a sense of surprise into every painting, of what colors and movements will go next.

I loved this movie, though as I said it takes a certain mood to get into it. Obviously, any fan of Picasso or any of those 'out-there' early 20th century masters will go completely ga-ga for the film, and for the innovative style that's mixed in (i.e. going in-between sometimes the canvas itself and Cluzot sort of 'directing' Picasso to go faster or to another picture). But even for those who usually don't have an interest in this stuff, it's worth taking a chance; you certainly won't see anything else like it in cinema.

Revelatory and exciting documentary of the artist at work. Claude Renoir, grandson of the famous impressionist, Auguste, is behind the camera and Les Diaboliques director Clouzot in charge of operations. A new technique has been discovered whereby the pair can film through a transparent without seeing the painter the other side. So, for the first thirty minutes or so we see black & white sketches appear before our very eyes. they are of varying quality and interest and magical though the process is, it becomes a little waring. It is like a giant Etch a Sketch or watching Rolf Harris back in the day transform a couple of squiggles into something a little more. It comes a s a great relief to then be over the shoulder of Picasso as he creates and far more interesting to see him poised before making his seeming random strokes and to feel much more involved with the whole process. Eventually the screen widens and we are experiencing the full cinemascope effect as the artist applies oil paint as well for the first time and we watch open mothered as in time lapsed photography truly inspiring works appear before us in full colour. Essential viewing although it has to be said that the earlier Visit to Picasso (1949) showing the artist working through glass must have been a most substantial influence. In any event if some of the works that appear before us, seemingly at some speed, are not of the highest order, to see the artist create so keenly, in such a needy and almost greedy manner is most informative and such a pleasure.