Previously on Genius...
PICASSO: I want to do something original.
-Unique! -PALLARES: You could paint
your perfect painting, Pablo.
PICASSO: These paintings, they were
the best work I've ever done.
I've had my work
-destroyed before. -ROSENBERG: And the Nazis
have labeled every bit of it as "degenerate."
It is extraordinary, Pablo.
YOUNG PICASSO: It's a gift, Uncle,
to thank you for everything you've done for me.
I made a vow to God that if he let Conchita live,
I would give up painting.
God knew I could never keep my promise.
So to punish me...
(crying): ...he took her.
The roses are exquisite, Hervé.
HERVE: Thank you, Monsieur.
There are thorns.
-Be careful. -DORA (whispers): Never.
MARIE-THERESE: Who is this woman, Pablo?
I am Dora Maar.
And you must be Marie-Thérèse.
(yelling, grunting)
(laughing): I will never be bored by you.
-(laughing) -My name is
Carles Casagemas.
What is yours?
Picasso.
CASAGEMAS: Picasso and I, we are the future.
I don't understand you, Françoise.
I want to be a painter.
You will become a lawyer. Do I make myself clear?
SERT: Franco and his fanatics are winning the war.
Franco has Hitler and the Nazis on his side, Pablo.
-We need you on ours. -DORA: I know you didn't want
to make a painting for the Spanish Pavilion.
But now you must.
PICASSO: I am going to need
a very big canvas.
ROSENBERG: I'm getting my family to safety.
Guernica made the Nazis very angry.
You have children,
women you love.
Some things are more important than art.
Not to me.
*
(explosion)
*
(explosion)
-Françoise. -Mama?
The Germans have crossed the border.
You must hurry. Your father is waiting
-for us at the harbor in Saint-Malo. -(distant explosion)
(people gasping)
FRANCOISE: Papa!
Françoise. Madeleine. Oh, thank God.
-Where are they all going? -The Germans have closed the harbor.
So we could have been in England days ago.
But no, you insisted Françoise take
this stupid exam, and now we're prisoners?
We are not prisoners. We are French citizens.
Yes. With Nazi monsters!
*
(soldier shouting in German)
(phone rings)
That was Hervé, calling from Tremblay.
German troops have commandeered the house.
PICASSO: Bastards.
They think they can just take whatever they want.
They do have guns and tanks.
And it could have been much worse.
Maya and Marie-Thérèse could have been there.
Get the car.
Pablo, it's 300 miles.
-Then we better get on the road. -And what are you going
to do when we get there?
Ask the Nazis politely to give you back your house?
-I don't care about the house. -Then what?
We are gonna steal my art.
(gunshot, glass shatters)
(gunshots, glass shattering)
(shouting in German)
*
PICASSO: Put as much as you can in the car.
The rest in Hervé's truck.
-(clapping hands) -Hurry!
*
PICASSO (chuckles): You should have seen it, my love.
We were a band of gypsies picking the Nazis clean.
DORA: What if you'd been caught?
PICASSO: Oh, impossible.
No, my African masks protect me
against all evil spirits.
This isn't a joke, Pablo. They might have killed you.
But they didn't. Did they?
(chuckles)
So you saved your paintings.
Now we should go.
Go?
(chuckles): Where?
To America.
It's too dangerous here.
Huh.
So...
...wh-when the fascists were far away in Spain,
you wanted to fight them.
You... you wanted me to paint Guernica.
And now that they are on our doorstep,
you-you just want to run away?
-* -(sighs)
Take it.
Go on.
Play that game you played
the night we first met.
Spread your fingers apart and drive the blade between them.
Pablo, please.
Even when you missed and drew blood,
-you didn't flinch. -I was drunk.
You were fearless.
(exhales)
You do what you want,
but I am going back to Paris.
*
(bells tinkling)
*
PICASSO: Come with me, Carles.
Show Mañach some of your work.
Nonell says he has a soft spot for Spaniards.
Mm. Well, you be the picador-- soften up the bull.
And when you've weakened him, I'll come in for the kill!
-(knocking) -I will get it.
You're onto something, and... clearly I am not.
(knocking continues)
Oh, uh, I'm looking for Pablo.
CASAGEMAS (laughs): You must be Pallarès.
-I see you've found our tailor. -Manuel.
I'm so glad you're finally here.
Where were you?
You were supposed to meet me at the station.
Ah. I lost track of the time.
I can see why.
Pallarès, say hello to Odette.
Enchantée.
Antoinette.
Lovely to meet you.
And Germaine.
We'll make coffee.
-Friends of Nonell's. -Mm.
-They were here when we arrived. -We didn't think it was polite
to ask them to leave.
No, of course not.
CASAGEMAS: Since Pablo prefers Odette,
I'll have to satisfy the other two.
But I suppose I could find it in my heart to...
lend you Antoinette.
Is he serious?
Welcome to Paris.
-(chuckles) -(slaps Pallerès' back)
PICASSO: What do you think?
Spanish painters are as common as mud in Paris these days.
PICASSO: Very well, then.
I will find someone
who likes the common touch.
I'll take three on consignment.
See what I can do.
No promises.
BERTHE: I'll give you 100 francs
for all three of them.
Mm, I don't know, Berthe.
Young Spaniards are all the rage these days.
If you had another buyer, you would not have come to me.
Now, tell me, what is he like?
This...
Picasso?
Small.
Intense.
And exclusive to me, in case you're wondering.
(rapping on door)
MAÑACH: It wasn't easy.
But...
I managed to sell all three.
That's quite an achievement,
considering Spaniards are "as common as mud."
After my expenses and commission,
you've earned yourself 50 francs.
Or...
I could give you 150 francs every month.
In return,
I own everything you produce.
-Everything? -You keep the stipend
whether I sell the work or not; the risk is entirely mine.
This is the way the art business is conducted in Paris, Picasso.
Ask around; it's more than fair.
Can you pay in advance?
-To Picasso! -To Picasso!
-(giggles)
*
PALLARES: Let's dance.
I am in love with Germaine.
You're drunk.
True. But I'm also quite serious.
I can't paint, I can't sleep.
-I want to marry her. -(chuckles)
Carles...
we are not in Spain anymore.
You don't have to marry a woman or pay her to get her to...
I haven't.
Gotten her to...
I know, I know, I've-I've... I've boasted, but
the studio's always so crowded.
We're-we're never alone.
There's no one at the studio now.
(laughter)
(Casagemas and Germaine kissing and moaning)
GERMAINE: I can't wait anymore.
(moaning)
(laughing): I can't.
-Mmm. -I...
I help you, okay?
-I... -(sighs)
I... I-I-I-I... I-I...
I mean...
I...
I-I can't.
(Casagemas sighs)
-Carles... -I'm sorry.
(Casagemas exhales)
(sighs)
*
-(indistinct chatter) -*
(indistinct chatter)
-(indistinct chatter) -*
MAN: It's so alive.
I can almost smell the smoke and the perfume.
BERTHE: Didn't I tell you, Arthur?
He is one of the most exciting young artists
working in Paris today.
How much?
Two hundred and fifty.
MAÑACH: Arthur Huc is one of the most influential
collectors in Paris, and he thought
your painting could have been a Degas or Lautrec.
You're getting noticed.
Yes.
For copying the styles of other painters.
It's what sells, and I need more.
CASAGEMAS: Don't be so gloomy, Pablo.
You're going to be famous. (chuckles)
What about Casagemas?
Have you seen his watercolor of Germaine?
-It's-it's, uh... -Show him, Carles.
-Mm-hmm. -MAÑACH: I'm sure it's charming,
but I need more paintings from you, Pablo.
Work up some more dance hall scenes.
(footsteps retreating)
I see you're an admirer of Matisse.
You think it's derivative.
Maybe my father was right.
About what?
He wants me to be a lawyer.
(laughs softly)
What's the point of that
if there's no law in the world anymore?
Well...
I can teach you what I know.
The first thing is...
there is no shame in being derivative
when you're starting out.
Your friend Matisse is the best... for color.
But if you want to learn how to draw a line,
you must study Picasso.
PICASSO: Sabartés,
I thought you were going
to find me some bronze for my sculptures.
It seems the Nazis have confiscated it all
to make their shiny bullets.
So, I suppose you couldn't find me any cadmium red, either,
'cause they need it to paint swastikas.
No one forced you to stay in Paris.
I would go back to Spain if that Fascist pig wasn't in charge.
(Picasso sighs)
To see Pallarés in Horta.
That was the last time in my life
I felt truly free.
(loud knocking)
(knocking continues)
Ah.
Good evening.
Is Herr Picasso at home?
(thudding)
PICASSO: You be careful with that.
Is Herr Rosenberg staying here?
No.
Herr Goldstein, perhaps?
I told you last time.
And the time before.
Here there is only Picasso.
So then...
you did this?
No.
You did.
You know, Herr Picasso, we have been very gracious to you,
but we could take away everything in this room.
And everyone.
I am told your General Muller is an admirer of mine.
(thuds)
Go ahead.
Take me.
You see what happens when he finds out
you arrested the most famous artist in the world.
Perhaps it is you who will disappear.
(speaking German)
Until next time, Herr Picasso.
GERMAINE: It's lovely.
CASAGEMAS: It's not as lovely as you.
-You're so silly. -Why?
Because I'm in love with you?
Then I happily declare I am the silliest man in all of Paris!
-Don't! -(bells tolling)
(laughs)
I'm going to buy you that necklace.
With what? You haven't got a single centime to your name.
I'll sell my paintings, the clothes off my back.
I have to go.
Germaine, Germaine, wait, wait, wait.
I thought we were spending the day together.
I'm meeting someone.
Who?
-Carles, you're very sweet... -Who?
But I don't answer to you.
PICASSO: I'm worried about you.
When was the last time you picked up a brush?
I can't paint. Not until I know Germaine is mine.
Lend me some money, Pablo.
-For what? -There is
a necklace that she admired.
-Carles. -Please, Pablo, please.
-Carles. -Please, Pablo.
Please.
Buy some paints instead.
Thank you.
I will pay you back. I will.
(footsteps retreating)
MAÑACH: Trust me, Madame.
Picasso here is the most exciting young painter in Paris.
A portrait by him would make you the envy of your friends.
Can he paint me in the style of Renoir?
Picasso can paint in any style you want.
Renoir, Lautrec, Degas.
WOMAN: Very well, then.
As long as he makes me look pretty.
I am sorry, Madame,
but I'm not nearly talented enough to do that.
Pablo!
(indistinct chatter)
MAÑACH: Pablo!
Pablo! (sighs)
-Empty your pockets. -What?!
How much do you have left of your stipend
after feeding and housing all of those
bloodsucking friends of yours?
I didn't come to Paris to paint dance hall scenes
and fat cows in the style of Renoir.
You need to eat, and to eat,
you need to paint a few cows.
PALLARES: Hey, save some for the rest of us.
(women giggling)
PICASSO: Hmm. Ah, behold,
the incomparable Casagemas.
(indistinct chatter, laughter)
-Carles... -I bought you something.
I heard a rumor about you, Carles, that
you put your brush down, and now you cannot pick it up again.
(laughter)
Well, go ahead. Open it.
-I can't accept this, Carles. -Why not?
Because...
I'm not in love with you.
I can change your mind.
-No, you can't. No. -Yes. -PICASSO: Carles.
-CASAGEMAS: Yes. -Carles, relax, have a drink.
It's the necklace you admired.
Please just let me put it on you.
-No, Carles. No, no. -Please. Why?
-Why not? -Because you cannot satisfy me.
(Antoinette giggles)
(women giggling)
I'm sorry, Carles.
I'm sorry.
Oh.
(grunts) Carles, wait.
Carles! Carles, wait!
(woman singing in French)
(sighs)
(woman continues singing)
Do you know where I can find something a little stronger?
*
GERMAINE (distorted): I'm meeting someone.
ANTOINETTE: I heard a rumor about you, Carles.
-PICASSO: Carles, relax. -ANTOINETTE: That you put
your brush down and now you cannot pick it up again.
GERMAINE: I'm not in love with you.
Because you cannot satisfy me.
(distorted laughter)
(panting)
(thumping)
(moaning)
(muffled moan)
(exhales)
*
Do I actually disgust you that much?
You should have forgotten about me, Pablo.
You need a warm bath and a strong pot of coffee.
-That's all. -You think that's going to fix me?
Carles.
I can't pay you what I owe.
-Forget it. -I can't...
paint.
I-I can't satisfy the woman I love.
(crying)
What am I going to do, Pablo?
What am I going to do?
He'll be fine once he sobers up.
He can't stay here.
He won't survive it.
So cable his parents. We will put him on a train.
Look at him, Manuel.
He can't travel by himself.
You can't leave now.
Not when you're having so much success.
(chuckles) Painting portraits of society ladies.
Imitating other artists.
So? Do something different.
-It's not that simple. -It is!
Remember Horta?
You weren't just copying some fancy French painters.
-Because I'd never seen any. -Exactly.
So you were painting what you saw and what you felt.
So go back to doing that. Something original!
I don't know...
(exhales)
(voice breaking): I don't know if I can.
(shuddering breath)
So are you leaving now to help Casagemas?
Or are you leaving because you are afraid
that you can't paint your perfect painting?
I need to finish packing.
(clacking)
At least you'll finish something.
(door opens)
(door closes)
-(bell tolling) -(indistinct chatter)
FIRST AUNT: Tell us about Paris, Pablito.
-It must have been so exciting. -(chuckles)
A feast for the eyes, Auntie.
You were a great success, I suppose, hmm?
I sold quite a few paintings.
FIRST AUNT: How wonderful.
(chuckling)
Look who has come, Salvador.
All the way from Paris.
PICASSO: Happy New Year, Uncle.
(clears throat) Ah.
This is my friend, Carles Casagemas.
He's also a painter.
It's an honor, señor.
PICASSO: After the-the noise and glare of Paris,
we thought a few weeks by the sea could do us some good.
If you're going to stay in my house,
you're going to need a haircut.
And a shave.
Of course, Uncle. Uh, but...
...after paying for the journey...
(clears throat) ...we're a little short of funds.
Buy yourself a respectable suit as well.
CASAGEMAS: Charming fellow, your uncle.
To hell with him. And the barber.
I like our hair the way it is.
(chuckles)
So, what are we going to do with all that money?
I have an idea.
I need you to take special care of my friend.
He's just had his heart broken.
Whoever she is,
I'll make you forget her.
Stop.
(sighs)
Don't waste your time.
(footsteps approaching)
-Hey. -Well?
Well, you were right, my friend.
Much more enjoyable than a haircut. (chuckles)
(chuckling)
SOLDIER: Show your ration card!
Only one loaf today.
So, what would you like for dinner tonight?
Maybe some cheese and some soup?
-(gasps) -What is it, darling?
Come. Come, cherie.
PICASSO: Well, that should be enough coal to last
until the end of the week. I'm sorry I couldn't come sooner,
but with the curfew and...
-It's all right. -Yeah.
We've just missed you.
Haven't we, Maya?
PICASSO: And for you,
princesa...
...a special treat.
Pablo, she's...
(quietly): She saw two dead resistance fighters today,
hanging from ropes.
Ah.
You have a pair of scissors?
Uh, yes.
PICASSO: Yeah.
(gasps) You did it.
Look.
Pretty, isn't she?
Oh, you should meet her friends. (gasps, chuckles)
Take it.
Mwah, mwah.
Eat your apple. (sighs)
Oh.
Stay the night.
No, I can't.
Because you are going to see her.
Because I must work.
The Nazis won't even let you show your art.
I know, but, uh...
but they cannot stop me from making it.
Good night.
(pigeon cooing)
Well, hello, little paloma.
Have you come to visit me?
(gunshot)
(people clamoring in distance)
PICASSO: There is fighting in the street.
I was nearly killed by a stray bullet.
Topics such as this no longer matter.
You promised me.
-(doorbell buzzes) -But you know very well
I have tried everything.
You can petition the courts again.
You are an important man.
I'm also an old man!
What would be the point of marrying you now?
-Maya is eight years old. She wants to know... -(sighs)
-...why her papa doesn't live with us. -I'm sorry, mademoiselle,
but he is not...
Mademoiselle, you cannot...
Why is she here?
-Get out. -Mademoiselles,
-please. -Why is she here, Pablo?
Dora, uh...
You know very well
that Marie-Thérèse...
is the only woman I love.
Pablo...
MARIE-THERESE: You heard Pablo.
You may leave now.
(whispers): Pablo.
(quietly): Come.
Come, I will take you home.
Come on.
(door closes)
I knew you would choose me.
You can go, too.
But...
Yeah, I need to be alone now.
So, you are finished with Dora.
Of course not. (chuckles softly)
And Marie-Thérèse?
I love Marie-Thérèse.
She's... kind and soft,
and she does everything I want her to.
And I love Dora because she's...
...brilliant. Talented.
And yet you treat them so cruelly.
I can't remember the last time
either of them made me want to pick up a brush.
Or the last time I made a picture worth looking at.
I need something new.
AUDIENCE: Olé! Olé!
Olé!
(audience gasps)
Ooh.
PICASSO: He's all right.
He's not hurt.
My father had a friend
who used to say
it was every Spanish man's paradise.
Bullfight in the morning,
bar in the afternoon,
whorehouse at night.
(chuckles)
Wise man, your father's friend.
AUDIENCE: Olé!
After he took me here the first time,
-I painted. -AUDIENCE: Olé!
All in reds and golds.
It was a terrible picture. (laughs)
But my mother,
she thought it was a masterpiece.
But you haven't painted anything
since we arrived in Málaga.
I'd rather make trouble with you.
Hmm. 'Cause you're trying to help me
forget about Germaine,
or because you're avoiding work?
-AUDIENCE: Olé! -(laughs)
Olé! Olé!
Well, it's time for you to pick up a brush.
And for me to go.
Carles...
No, you've worked a miracle, Pablo.
I feel better than I have in months.
You cannot go back to Paris.
No, no, don't worry.
I-I'm going back to Barcelona
to stay with my parents.
AUDIENCE: Olé! Olé!
Olé!
(laughs)
-You came. -You look well.
Oh, you look beautiful.
I am sorry I embarrassed you.
-Oh, no. It... -And I really wanted to come and meet you...
-It doesn't matter anymore. -...but you must know
-I am with someone else now. -It doesn't.
So we cannot be more than friends.
I hope you can understand that.
I am happy for you.
Truly?
We should get the circus together.
Have dinner,
celebrate my triumphant return to Paris.
-Wonderful. -(laughs)
Picasso. (scoffs)
Is that what you're calling yourself now?
Because you're ashamed of your father's name?
-My name? -Of course not, Uncle.
And you expect me
to give you money to make
-these obscene journals? -It's not obscene.
And it's not a gift. It-it's an investment.
Pablo.
You used to make beautiful paintings.
And now you're what?
A caricaturist?
(sniffles)
Don't squander your talent, Pablo.
GENEVIEVE: Alain Cuny is the most talented actor alive,
and he just invited me to dinner.
How did you manage that?
I waited for him backstage after his matinee.
He thought I was very charming,
and he offered to take me to the Catalan.
The Catalan, Françoise.
He probably just wants to take you to bed.
I certainly hope so.
He must be 40.
-He's probably married. -So?
He's famous and handsome.
But I can't go alone.
You must come with me.
No. There's-there's too much to do here
-if we're going to be ready. -Oh!
The Catalan buys oysters on the black market.
When was the last time you had oysters?
And champagne?
GENEVIEVE: She's his mistress?
CUNY: One of them.
How many does he have?
How many women has he painted?
(laughs)
(chuckles)
CASAGEMAS: To art!
-PALLARES: To art. -And to love.
Two endeavors
at which I have failed miserably.
-Carles, don't say that. -(Casagemas laughs)
(overlapping chatter)
Here, Germaine.
Please.
Would you read these for me?
Please?
The chief of police.
And your mother?
Why would you... (screams)
-One for you... -What the hell are you doing?
And one...
-for me. -PALLARES: Carles, no!
-(screams) -Carles!
(gasps)
PALLARES: It was horrible.
The blood.
The brains everywhere.
It is my fault.
What are you talking about?
I never should have believed him.
I shouldn't have let him leave, or I should've gone with him.
How were you supposed to know?
God. God punished me again.
Because I wasn't painting.
Jesus Christ.
Pablo.
Do you really believe that God is killing people
because the great Picasso
didn't paint another one of his masterpieces today?
*
Where are you going?
GENEVIEVE (whispering): He's coming over.
-(clears throat) -Ah.
Do you like cherries?
CUNY: Well, that's very kind, Monsieur Picasso.
Won't you join us?
Oh, I-I'm afraid I can't.
But I would very much like to meet
your dinner companions.
CUNY: Ah, well, Françoise
is the intellectual, and Geneviève
is the great beauty.
Doesn't she resemble a Caravaggio?
Tell me about the intellectual one here.
Françoise is a virtuous woman, I'm afraid.
CUNY: Ah, but not for religious reasons.
Her objections to lovemaking
are based entirely on Platonic ideals.
And how do they pass the time,
your Caravaggio and your Platonic philosopher?
We're artists, actually.
Oh. Uh, you certainly don't look
like any artists I have ever met.
FRANCOISE: Well, for your information, Monsieur,
we're having a joint exhibition of drawings and paintings
at a very well-respected gallery.
Rue Boissy d'Anglas.
Well, I am...
I am also an artist.
Oh, are you really? (laughs)
You must come and visit me sometime.
To see some of my work.
*
You're going to paint her, aren't you?
Captioned by Media Access Group at WGBH