Posts Tagged “Italian”

1966

December 19, 2010
Netflix Criterion DVD
Soviet Union
Russian / Italian / Tatar
205 Minutes
Biography / Drama / History / War
Andrey Tarkovskiy

#43 They Shoot Pictures Don’t They Top 1000 Films Of All Time

Imaginary episodes from the life of a 15th-century icon painter.

“A superb recreation of medieval life dramatizes the eternal problem of the artist, whether to take part in the life around him or merely comment on it” — **** — Halliwell’s

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

First things, first. Yes, it’s a butt-numbing 205 minutes. It’s in black and white, has no “normal” narrative, and is mostly in Russian. This is the only DVD in my 10-year Netflix history, that I’ve mailed back unwatched, and then put back on my queue at the top position. The first time the length just seemed too daunting. But, there must be a reason that it’s number 43 on THE LIST. It deserved another chance.

With older, less mainstream films like this one, I sometimes like to read about them before watching. What I learned was not to expect a linear style of storytelling, with plot point A leading to plot point B. I wasn’t to expect the title character, Russian painter Andrei Rublev, to be on screen very often–in fact, there are several long scenes where a character takes the attention of the camera for an extended period of time, never to be seen again. The man on the balloon in the first vignette is a perfect example. Who is he and what are the circumstances of his balloon flight? And what does this have to do with painting or faith or being a monk? We are never told.

I was instructed in these essays to be aware of the movement of the camera, the brutality of the images, and most importantly, the background of each scene. This proved to be the best advice I could get before viewing ANDREI RUBLEV.

The film may, in fact, be about the struggle to find beauty in the harsh Russian winters (and summers for that matter). Or it may be about artistic motivation–how a painter sees the world and his faith and incorporates that into the icons he paints. It could be about the pettiness and jealousy that humans–including the most holy monks–struggle with on a daily basis. I have no idea.

It’s the story of a famous real-life painter with no scenes of painting. It is divided into a half-dozen chapters, some of which have no relationship to each other. Our main character isn’t in every chapter, and even when he is, he is dressed exactly like the other monks, making his identification difficult, if not impossible. “Which guy is that, again?” For the last hour, our hero is wordless, because he is punishing himself for a sin any of us would have likewise committed.

I can’t tell you if the acting is good or not. If the actors are dressed in authentic costumes or speak as they should. But what I can tell you is Tarkovskiy has composed shots, the likes of which I’ll never forget. Everything I marveled at in Kurosawa’s RAN–the horses and flags and the burning temple–are done better in this film. And horses? Oh my goodness, the horses. Every broken horse in the USSR must have had a cameo in this film. Horses are inside churches, falling down steps (in a famous, brutal, and real scene), running into battle, rolling on the ground, frolicking in the water, and eaten as a treat. To simply marshal this number of horses and riders is grounds for celebration.

An early scene has three monks traveling the Russian countryside, through mud and rain. (I was chilly for the entire 3 plus running time–never has a landscape looked less hospitable.) They enter a tavern (or is it just a barn) to take shelter. A jester is performing some sort of anti-governmental song and dance as the drunk patrons laugh along with him. When he’s finished, long after another director would go to some sort of conversation amongst the monks, Tarkovskiy instead does a slow 360 degree spin of the inside of the room. We see every face looking at us–the monks, the peasants, the drunk guys in the corner, some children in the shadows. He does two spins, I think. Most of the film is in wide shot, but on a few occasions we see close-ups of naturalistic Russian faces.

There are what appear to be throw-away scenes of nature–a water snake, a man covered in ants, a dead bird, a cat walking amongst a pile of dead bodies.

The outdoor shots are where the film really shines. The first scene, involving the balloon, has the camera follow the “pilot” as he walks around a church, enters it, climbs some stairs, climbs out a window, and reaches for the ropes which are keeping the balloon from flying away. We have somehow gotten outside with the pilot and in the background, perfectly framed, is a rapidly approaching group of men in canoes paddling towards the church to stop his flight. Both the ropes, the balloon, the man, and the distant background are in focus.

There are countless outdoor scenes involving hundreds of people and horses, where you’ll scratch your head wondering how everyone ended up in the right place at the right time. An attack on a village where the action takes place on four levels, a raiding army whose horses gallop on both sides of a lake, and in a part of the film rightly heralded, an entire village helps to create a huge church bell for the town.

This bell scene involves a boy who claims that his dead father left the secrets to bell-making in his hands only. This boy has not been seen by the audience in the first 2 1/2 hours of the film, but at this point he becomes the protagonist. He has little actual skill at this craft, but he does have some sort of natural bell-making ability. He orders workers around, discovers the right molding clay by literally sliding in it, and does not show the Tsar the respect he usually gets. The digging and melting of metal and pouring of the mold and the fire and sparks is thrilling. In a scene I’ll never forget, the men begin chipping away at the clay to reveal the smooth and huge bell beneath. It takes the whole of the village to lift it out of its hole and as the Prince and other royalty ride up to see it, we all know that if that bell doesn’t ring, the boy will lose his head.

This shot is spectacular. We are up a hill, on top of the bell and in one cut, we pan from the miles away village and its protective wall, follow a line of horses as they cross a river on a bridge, see the ropes that have helped to hoist the bell, pan over to men winching the bell out of the ground, look down on the boy, and finally straight down on the bell itself. Fantastic.




Was ANDREI RUBLEV exciting from start to finish? No. Do I have any idea what it’s about? No. I took a two-hour break in the middle to gather myself and, frankly, to wake myself up a bit. Plot-wise, there’s a lot of talk about the wickedness of man, along with some examples (the raiding Mongol army, the pagans who strip naked to run though the forest, the rapists, the guy who pokes out the eyes of artists so that they can never recreate what they’ve already produced.) But the shots are just superb. There are things happening in the background of every shot. There is choreography of hundreds of extras that left me speechless.

Am I in a hurry to see it again? Not exactly. But I’m glad I did.

8.2 IMDB

ANDREI RUBLEV

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GOOD WORK
1999

July 13, 2009
Netflix Roku
France
French / Italian / Russian
90 Minutes
Drama
Claire Denis [Chocolat]

Dreamy, beautiful story about the French Foreign Leigion in Djibouti. Mostly wordless, though sometimes with voiceover that doesn’t match what we see on screen. Excessive and oppressive routines for the soldiers who seem to need it for their psyches. Men from the world’s different cultures must learn to co-exist and work together through discipline. Directed by a woman, this might be the gayest straight film I’ve ever seen. The men are almost always photographed shirtless and sweaty, in tight shorts, doing manual labor or Tai Chi or cathesthenics. But how beautiful they are. On a dusty outpost far above the ocean, they seem to be training for a fight they’ll never have. Their leader, who seems to partake in every form of physical exertion his men are forced to, has them doing tasks with dubious military benefit. They break rocks and march through lava-like landscape. The plot is nearly non-existent, save for a superior who asks a grunt his name and background, which gets the leader angry (or is it jealous), which leads to a showdown between soldier and superior. Note to self: don’t talk back to guy in charge of unit.

Worth watching alone for the photography and the final ten minutes which is either symbolic or literal, but is trippy either way. If you are a homosexual man, put this on the top of your Netflix Queue. You won’t be disappointed.

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BEAU TRAVAIL is the subject of Cinebanter Podcast Number 75. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:32 THE HURT LOCKER Discussion
• Break
• 27:52 To Sum It Up
• Break
• 28:30 BEAU TRAVAIL Discussion
• Break
• 36:00 The Last Five®
• Break
• 1:09:43 Listener Feedback
• 1:15:47 Credits

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9.1 Metacritic
6.9 IMDB

Beau Travail @ Amazon

BEAU TRAVAIL

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THE SWEET LIFE
1960

April 16, 2009
Netflix DVD
Italy / France
Italian / English / French / German
174 Minutes — April 19, 1961
Drama
Federico Fellini [8 1/2; Nights Of Cabiria]
Marcello Mastroianni; Anita Ekberg; Anouk Aimee; Yvonne Furneaux
#26 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The version of the list I used is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

A journalist mixes in modern Roman high society and is alternately bewitched and sickened by what he sees.

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LA DOLCE VITA is the subject of Cinebanter Podcast Number 69. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:

• 00:00 Intro
• 00:32 LA DOLCE VITA Discussion
• Break
• 20:22 To Sum It Up
• Break
• 21:04 The Last Five®
• 1:01:48 Credits and Outtakes

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Oscar Nominations for Art Direction; Directing; Original Screenplay

*** Halliwells
*** Ebert
***^ Maltin
9.3 Metacritic
8.1 IMDB Number 243 All Time

La Dolce Vita @ Amazon

LA DOLCE VITA

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FAT GIRL
2001

April 13, 2009
December 2, 2006
Criterion DVD
France / Italy
French / Italian / English
86 Minutes
Drama
Catherine Breillat [Last Tango In Paris; A Real Young Girl; 36 Fillette; Perfect Love; Romance; The Last Mistress]

An overweight 12-year-old girl observes her pretty, 15-year-old sister’s sexual initiation on a summer holiday.

Elena and Anais are sisters. Elena is 15 and beautiful. Anais is 12 and pudgy. Elena is only allowed by their parents to leave the vacation home if she takes her younger sister along. At a sidewalk cafe, she meets an Italian law student who offers the two girls a place to sit, and then buys them something from the menu. Anais picks a banana split (“my favorite”). Elena spends her time sharing cigarettes and flirting with the older man. Anais directs her attention to the ice cream. Anais is forced to wait at the driveway for Elena to finish with her “date”. Having just met each other is no reason to avoid a heavy makeout session before Elena is dropped off.

Elena has arranged for Fernando to sneak into the window of the bedroom both girls share. “Don’t embarrass me,” she says to her younger sister. “I have better things to do than worry about your sexual activity,” Anais replies. But the room isn’t very big and the private, persuasive pillow-talk is heard easily by Anais who pretends to be sleeping, but then watches as her older sister gives in to his advances — almost all the way. The younger sister is less intrigued or aroused than she is full of pity for her sister, who she later tells is making a mistake by actually caring about the man who is about to take her virginity.

Anais declares that she would rather have her first sexual experience with a stranger so that she won’t be attached to him, thereby taking away most of his masculine power. The young caressing couple speaks often about how she’ll never forget him and how he’s incredibly honored to be allowed the privilege of deflowering her. When she says no to a sexual advance, he says all the words that every man has used on every woman from the beginning of time. “This will be a proof of your love,” is a favorite he repeats several times. Though he seems sophisticated to the two girls, we see him for the sniveling, immature boy that he is. He steals a ring from his mother to give to Elena as proof of his “love.” An awkward exchange occurs when she pounds on the front door demanding its return.

In between the sexual give-and-take, there are honest scenes between the two sisters. They vary in their sisterly closeness. Sometimes, giggling together on the bed, recalling funny family experiences. Sometimes, telling each other that they are the only person they trust. And then Elena will remark while looking in the mirror that no one would guess that they were related. Anais is an extremely touching character. She play-acts a relationship with two men using items in the pool area, promising that her heart belongs to each of them. She is clumsy and has none of the glamor of her older sister. She is loved by her parents, but ridiculed a bit by them as well.

Breillat has again delved into the mind of the adolescent female, this time in two radically different characters. One who feels wise to the ways of men, but with little chance to act on her desires. The other, unable to control her power over men–when she sees how she effects them, she seems to want to believe them.

Virginity-losing films made in Hollywood are rarely done from the girl’s point of view. And they are almost always a light-hearted comedy where the act itself is shown to be nothing like the importance given to it. This film is different. This film is better.

“Elena is 15, old enough to understand the effect of her beauty on males, young enough to feel insecure and confused over how to lose her virginity to the right person. Her 12-year-old sister Anais, on the other hand, is fat, envious and insists that, when the time comes, she’d rather give herself to a stranger. Holidaying with their parents, the girls reach a new phase in their bickering when Elena starts seeing Italian law student Fernando, whose determination to have sex involves smooth talk that may persuade Elena of his romantic intentions, but doesn’t fool little sister, reluctant witness to his siegecraft from her bed across the room. What if mom or dad were to find out? Breillat’s typically tough but sensitive study of sisterly rivalry may be less philosophical in tone — not to mention less visually explicit — than its predecessor ROMANCE, but it remains notable for its refusal to provide a facile, politically correct account of adolescent experience. As psychological portrait and social critique, the film offers cruelly honest insights. Dark, disturbing and hugely impressive, it’s made all the more lucid by superb performances from the two young actresses.” — Time Out Film Guide 2007

“It is not merely that a boy will tell a girl almost anything to get her into bed, but that a girl will pretend to believe almost anything, because she is curious, too. FAT GIRL, seemingly more innocent, at times almost like one of those sophisticated French movies about an early summer of love, turns out to be more painful and shocking than we anticipate. It is like life, which has a way of interrupting our plans with its tragic priorities.” — ***^ Roger Ebert

“An often observant study of adolescent sexuality and sibling relationships vitiated by its violent ending.” * Halliwell’s Film Guide 2008

“Potent drama from the always-provocative Breillat explores the complex relationship between two sisters, aged 15 and 12, who (like all the director’s heroines) are obsessed by sex. The older one is pretty and desirable; the other may be plump and miserable, but has her own yearnings. Breillat offers a voice to the title character, a type who is usually the object of scorn or ridicule. Features graphic sex scenes and an unsettling finale.” — *** Leonard Maltin’s 2007 Movie Guide

*** Berardinelli
7.7 Metacritic
6.4 IMDB

Fat Girl – Criterion Collection @ Amazon

FAT GIRL

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THE BICYCLE THIEF
1948

January 1, 2009
Netflix DVD
Italy
Italian
93 Minutes — December 13, 1949
Crime / Drama
Vittorio De Sica
#14 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

An Italian workman, long unemployed, is robbed of the bicycle he needs for his new job, and he and his small son search Rome for it.

The story could scarcely be simpler. A man (Antonio Ricci), out of work for a year is finally offered the job of poster-hanger. The only catch: he needs to use a bike at his job. Unfortunately, his bicycle is in a pawn shop, where he put it to get money for living expenses. When he tells his wife his dilemma, she wordlessly takes the sheets off their bed and heads down to the pawnshop for the exchange. That evening, his adoring young son, Bruno (you could spend the whole film watching him watch his father) cleans it and oils it. He knows every inch of it. The next morning, the whole family is excited. The man in his new uniform; the wife proudly packs his lunch; Bruno is happy to ride on the handlebars to his own job where his father promises to pick him up that evening.

Antonio’s job is to hang posters of Rita Hayworth. He is taught how and then sent on his way. Within minutes, a group of men watch him for awhile, and then one of them takes off on the bike while the others misdirect Antonio who chases the wrong man. 15 minutes of film time has passed. The rest of the movie is taken up with the man’s quest to find and reclaim his bicycle. He enlists friends to help him look in the usual marketplaces. He consults with a psychic. He threatens and follows people. He is in the middle of Rome–his chances are not good.

The story of the film is not the important part. It’s as if non-professional actors are appearing in a documentary about a bicycle theft, not a fictional story about a man’s lost bicycle. The difference is important. The townspeople Antonio comes into contact with don’t have an acting bone in their bodies and therefore the impact is much greater. We go into a church for Sunday services and it’s like we’re disturbing the worshipers while our protagonist is there. A rainstorm hits and we hide under an awning along with the rest of the neighborhood.

It’s hard to find a modern-day equivalent of the importance of this man’s lost bicycle. He will lose his job without it. His joy at finally having work that morning is dashed by noontime. The unconditional love of his son (looking like a ten-year-old Bruno Kirby) is something to behold. No trained child actor spends as much time looking into his father’s face as this boy. He walks at the same pace as his movie father, he checks the man’s face for understanding every few seconds, he makes sure it was okay to partake in a bit of wine at a cafe, and the look on his face in the last 5 minutes of the film is heartbreaking. I may never forget the boy.

THE BICYCLE THIEF is not an uplifting drama. But it shows us post-war Italy in a very specific way. We are in specific neighborhoods populated by specific people. We feel for this specific man and his world. Almost in spite of myself, and the hangdog expression of our protagonist, I found myself not only caring deeply about what happened to him, but feeling like I knew him and, more importantly, felt for him. I wanted him to get his bicycle back. I wanted to shout at the people acting as obstacles–those who didn’t believe his story or realize its importance. The survival of his family is at stake–this is no simple “find the toy for the sad man”. I wondered what I would do in the same situation. How long could I hold on to my dignity? What if my young son was watching my every move?

I was reminded thematically of WENDY AND LUCY about the woman and her dog who breakdown in a small Oregon town.

This film is rightly considered one of the best of all time. You’ll be sucked into its dreamlike pace and its documentary feel.




ON: Screenplay

“The epitome of Italian neo-realism, the slight human drama is developed so that it has all the force of King Lear, and both the acting and the backgrounds are vividly compelling” — Halliwell’s Film Guide 2008.

**** Halliwell’s
**** Ebert
**** Maltin
A–Tobias, The Onion
8.4 IMDB #106 All Time

The Bicycle Thief @ Amazon

THE BICYCLE THIEF

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The Star Maker
1995

Netflix DVD
Italy
Italian
113 Minutes — March 8, 1995
Drama
Giuseppe Tornatore [Cinema Paradiso; Malena]

In Sicily in the mid-50s, a traveling con man offers townspeople the chance of stardom if they give him money to make a screen test.

Another Tornatore story of a small Sicilian village and the quirks that thrive there. This time, a van drives in to small village after small village announcing that for one day only, screen tests will be administered in the tent by a world-famous personal friend to American movie stars. For only 1500 lira, of course. This is an opportunity for Tornatore to have unique Italian faces recite monologues about all manner of subjects. Some are too frightened to speak on camera, some use the opportunity to right a wrong or lobby for a husband. Some have faces that glow–others are cold and blank. Then he packs up his worthless film and heads to the next town. Everyone comes out–smart judges, dumb farmers, the local police chief, the mafia don–all hoping for that elusive stardom that our hero is quick to never promise. Because it’s Italy and the lure of fame is so great, our hero–while ridiculing the simple people he is rooking–only occasionally takes a beautiful woman up on her offer of non-currency payment for his services.

We also get a genuine beautiful discovery. This time, a simple milkmaid, who is obviously the most beautiful girl in Sicily, is played by someone named Tiziana Lodato, who after a bit of eyebrow plucking, is more than ready for her closeup.

Tornatore has his signature unbroken shot sweeping through alleyways and near fishing villages and around townspeople as they congregate outside of the screen test tent. He also finds these fabulous faces of people we assume have never acted before. And like Malena, there is a savage beating that seems to take place from a different film altogether.

But the travelogue aspects of a man in a van traveling around Sicily will keep you entertained throughout.

* Halliwells — “A road movie about people’s dreams and disappointments, too schematic to be entirely successful.”
7.1 IMDB

The Star Maker @ Amazon

THE STAR MAKER

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2000

September 21, 2008
Netflix DVD
Italy / USA
Italian / Sicilian / English / Latin
92 Minutes (USA Version) — December 25, 2000
Comedy / Drama / Romance / War
Giuseppe Tornatore [Cinema Paradiso]
Monica Bellucci [Bram Stoker's Dracula; Irreversible; The Matrix Reloaded]

An Intimate Portrait And An Epic Story Of The Courage We Discover, The Innocence We Surrender, And The Memories We Cherish…Forever.

In Sicily in the early 1940s, a beautiful woman, who loses her husband in the war, is the object of an adolescent’s day dreams.

From the man who brought us perhaps the most nostalgic film of all time, CINEMA PARADISO, a movie I love with all of my naive heart. Take a look at the tagline above. He tries to have lightening strike twice. “The memories we cherish forever”?

This lightweight story is about a small Italian fishing village as Mussolini rises to power just before World War II. A young teenager named Renato is our surrogate for this film. We will grow up with him and experience life in Italy with him. The film opens with him receiving a new bicycle which seems to be the entry fee into a group of older boys who hang out together. He follows them one day as they race to a seawall, sit on it, and wait. His questions are all answered as Malena walks out of her house, past the panting boys, towards the market. As she passes, we actually get to see Renato’s shorts get tighter.

The entire story revolves around a woman whose husband is fighting for the Italian army. This woman is so beautiful that the rest of the village goes completely bonkers. Rumors spread, men declare their love, women spit on her, boys climb trees to peer into her house, German occupiers pay to sleep with her–all while she pines for her beloved.

In order to pull off a story like this, the woman needs to be almost supernaturally beautiful. Beautiful enough to become the obsession not just of an adolescent boy (which is comparably easy), but the obsession of an entire region of Italy, as well as male and female viewers, alike. There are maybe five women on the planet who could inspire such a response. Monica Bellucci is absolutely one of them.

From the moment we see her sashaying by the group of boys, we are goners. She is a work of art. From that point on, there is not a single thing that happens in this unevenly toned film that seems out of place. A beautiful woman can make people do unbelievable things. I would say that Bellucci would probably lead any number of global villages to cease to function as societies were she to show up in one of her cleavage-baring dresses.

Beyond that, there isn’t much here. The character of the boy is a pretty realistic portrayal of someone who is protecting the thing he loves without telling the object of his affection. He spies on her, he dreams about her, he masturbates to her, she shows up in his daydreams as a teacher, or butcher, and he writes unsent letter to her declaring his love and that he’ll always be around to protect her. It’s probably a uniquely male thing to do, to create a fantasy world where you have a relationship with someone you’ve never spoken to, where you defend someone who doesn’t know your name, where you know that if she would just talk with you once, she’d be as convinced about your compatibility as you are. This is hard to portray on film, so it falls back on flashes of breasts and on the incredible face of Ms. Bellucci.

Because I am a straight male, I needed to do further research on Ms. Bellucci and was shocked and horrified to find that the version of MALENA that I saw on DVD, while rated R (deservedly), had more than ten minutes cut from it, including several more scenes of seduction and nudity. The horror!

I am now firmly on the Bellucci bandwagon. To fans of hers I say, skip IRREVERSIBLE as you may never recover from what you see in it. I am also incredibly happy that she is roaring into her 40s as beautiful as ever.

The film, in a nutshell is about a woman so beautiful that a village goes bonkers. Don’t look for anything deeper than that.

* Halliwells — “Teenage fantasies of sexual success conflict with the realities of political failure and personal humiliation in this engaging fable that shows the influence of Fellini.”
5.4 Metacritic
7.4 IMDB
** Ebert
*** Berardinelli
B- Gleiberman

Malena @ Amazon

MALENA

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PAR-DELA LES NUAGES
(BEYOND THE CLOUDS)

1995

July 20, 2002

Sundance Channel

Italy/France/Germany

English/French/Italian

A film director imagines or remembers four stories involving partings between a man and a woman.

John Malkovich. Irene Jacob (RED). Sophie Marceau (BRAVEHEART). Vincent Perez. Jean Reno (THE PROFESSIONAL). Peter Weller (is ROBOCOP). Marcello Mastroianni. Jeanne Moreau.

Directed by Michelangelo Antonioni and Wim Wenders.

Beautiful and dreamy series of stories about love, both passionate and unrequited. Malkovich plays a filmmaker who observes the pairings going on around him and he gets to partake in one himself. The little scenes in between the stories were directed by Wenders and they have that beautiful, bird’s-eye-view, crane manipulation-type shot that he’s become famous for. Malkovich does the voiceover in English, but switches to French for his scene. Peter Weller who is best known for being Robocop, does his entire character in French. This is a truly international production using international actors speaking three different languages. This film also stars two of the world’s most beautiful women and one unknown to me, but who instantly rocketed to the top of the list. Irene Jacob plays a straight-laced woman who is followed by a hunky man to a church while they talk about love and satisfaction. Sophie Marceau is almost hard to look at, she’s so beautiful, and Malkovich finds that simply going into a clothing boutique will eventually get him in the sack with her. And as this is a European film, we see _all_ of Marceau in her love scene. There are arguments and infidelity and teasing and beautiful bodies and mistresses and passionate sex and tearful goodbyes. The music is great, the locations beautiful, though usually cloudy, and the photography stunning.

The first vignette starred an Italian woman named Ines Sastre, who is absolutely stunning. She’s like a more beautiful, thinner Cindy Crawford, with stronger eyebrows and Italian flair. Holy cow.

This is a good one to watch when you’re already sort of tired. It’s dreamy.

** Halliwell’s

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Written by Michael W. Cummins