Here they are: all 16 films in this year's FSLC's Open Roads series, listed alphabetically, along with a short review for each. A longer review will follow if and when the film is released in some manner, from theatrical to DVD, streaming or downloading. TrustMovies dearly hopes they will be, for this is another sterling year for this popular series, with nary a clinker in the bunch. I'm glad I saw every film here; I'd be happy to sit through most of them again.
Visconti's The Leopard and other films; here, too, things only partially come clear. Obviously, Italians know a hell of a lot more about their own history than do I, so why should Italian movie-makers spell it all out? I will need to consult some history books to fill in the blanks. As to the film, it's black-and-white, with rich cinematography and -- because the acting style is just post-silent-era -- some of the performers, particularly the gentleman playing the town priest, are given to more eye-rolling than might be absolutely necessary. Otherwise, it's an interesting slice of early Italian movie-making and Italian history brought to semi-dramatic life. While the movie gives a good sense of what the Italian foot soldier had to put up with, the onlookers we hear from would seem to give the film a right-wing stance. Don't expect a "classic" (and all that this entails) and you'll do just fine. Note: thanks to Mario Martone's wonderful We Believed (see below, toward the end of this post), I now understand a good deal more about this period of Italian history. If you, too, want to pick up a vital and dramatic history lesson, I suggest you see this film that won this year's David Di Donatello award as Italy's Best Picture of the Year.
directed and co-written
by Gabriele Salvatores
Gronchi may not resonate with us, but when the filmmaker tells us that "the way mom looked at this guy made Dad jealous," we'll get the point. From the view of what looks like a billion young boys in the sea, to period songs (Paul Anka's Diana), shots of our favorite movie stars -- Liz! Gina! Claudia! -- in their younger years and most fun of all, how the USA and Russia were seen by Italians during this period, the documentary is full of life and interest. That search for his missing brother seems to have turned Salvatores into a filmmaker (a good one, too: see Mediterraneo or last year's Happy Family). And how's this for a nice meditation on life (and death): "It's like a bicycle race. Early or late, there's always a curve waiting. At some point, the bicyclist is going to disappear around that curve."
Aureliano Amadei's 20 CIGARETTES is also the funniest (not a description one usually associates with this genre) and finally the most moving and profound. This film is absolutely a must-see, and TrustMovies could kick himself hard for missing the press screening and having to see a later screening, thus preventing him from covering the movie in a more timely fashion. He hopes to speak with the film's director and writer later and to perhaps cover the film again, in a lengthier post. Meanwhile, 20 Cigarettes plays one more time, Monday, June 6th at 2pm, at the Walter Reade Theater. Try to get there. Amadei's accomplishment is huge for a first-time filmmaker. He's surrounded himself with good people, from actors (his leading man, Vinicio Marchioni, is simply terrific) to technicians, but I think it is his ability to take the personal and make it political and universal that seals the deal. His humor is wry and real, and his one horrific action scene is better than anything I've yet seen from mid-east movies, including, yes, Restrepo and The Hurt Locker. What an important film this is!
THE FIRST ASSIGNMENT
(Il primo incarico)
directed and co-written by Giorgia Cecere
THE FIRST ASSIGNMENT (Il primo incarico), which also proves the first assignment for its fledgling director Giorgia Cecere. Ms Cecere has worked, however, as assistant director for Gianni Amelio on Open Doors and The Stolen Children and as a writer on the latter film as well as on The Miracle for Edoardo Winspeare. She has learned from some talented filmmakers and put this to good use in her own work. As co-writer with her sometimes collaborator Pierpaolo Pirone, Ms Cecere tells a story that initially seems pretty simple (and on one level remains so) yet is filled with the such specifics of life, work and the mores of its time and people that it takes on a good deal of heft and weight. A young woman, intelligent and optimistic but from a clearly working-class family, is about to embark on her first assignment as a school teacher in a village some 150 kilometers away. This will mean living for a time away from her home, as well as away from her upper-class but surprisingly supportive boyfriend. From this beginning to where the movie ends up is anything but obvious or expected and yet makes perfect sense, considering that our heroine is determined to make the best of things, given her (and women's) lot in life at this particular time and place.You will not question, I think, the reality of most anything here, particularly that of the leading lady, Isabella Ragonese, the talented actress who graced last year's Opens Roads in Ten Winters and One Life, Maybe Two. Ms Ragonese is the real thing. We'll surely be seeing more from her -- and from Ms Cecere, who in less than 90 minutes has given us an entire world.
Dark Sea -- worth seeing for its visuals and its very odd combination of art (literal and metaphoric), murder, love and sex. She's back this year with a much lighter -- though still somewhat dark -- story of saints, miracles, mothers and hairstyles (among a number of other things). Her leading lady is a small teenager named Manuela (an alternately sweet, sassy and withdrawn Carla Marchese), and her way-too-distant mom is played by the fiery actress Donatella Finocchiaro. When Manuela's "visions" seem-ingly lead to a miracle, the townspeople show up for help and sustenance and quickly change the family's life. This is ripe for satire, but Ms Torre does not really have much facility for comedy or satire -- except in the most obvious of ways. Which is OK -- because she does have a facility for family feeling and low-key drama. Thanks to the performances of the two women and other major roles (dad, priest & hairdresser/tarrot card reader) the movie gets by. Simply to see Manuela finally smile makes this trip worthwhile.
LOVE & SLAPS (La bellezza del somaro)
directed and co-written (with Margaret Mazzantini) by Sergio Castellitto
Alza la Testa. Here, as both actor and filmmaker, he keeps things on course, drawing wonderful, lively performances from his whole cast, and providing a richly imagined tale of a weekend in the country involving several generations of extended family and friends. The hook: the family's daughter is bringing home a new boyfriend, and the parents are primed for a modern-day Guess Who's Coming to Dinner? One of those Italian mainstream movies that are glamor-ous, gorgeous (oh, the locations!), funny and smart, L&S is vastly entertaining. Who could ask for anything more? Oh, yes, and there's Laura Morante, looking older but as beautiful as ever and giving that little bit of extra ballast she often provides to keep things grounded. This is one of the highlights of this festival.
Dario Castillo) frets and meanders and bumbles his way into love. The object of his affection is played by the equally attractive and genuine Martina Codecasa, and what a superb pair they make! D'Alatri, who nearly a decade ago gave us what is still one of the finest films ever about modern marriage -- Casomai -- here spends enough time allowing us to understand our hero that we are able to go with him every step of the way. While these steps lead to tragedy, so beautiful and alluring does D'Alatri make the mind of this boy and the journey he takes, that we go along gladly. And the filmmaker rewards us with enough beauty to offset the pain. Only after the fact will you piece together everything, and even then, I think you'll agree that D'Alatri's fertile imagination and his telling use of present and past time almost manage to conquer, well, death itself. That, ladies and gents, is some kind of art, and this is a movie I want to see again.
THE PASSION (La Passione)
directed and co-written by Carlo Mazzacurati
Silvio Orlando) into a small town and then -- via a very smart plot device involving real estate, an absentee owner, and the Italian penchant for bypassing all legalities -- forces our "hero" to agree to stage the town's annual Good Friday pageant. Orlando is joined by another of his country's great actors, Giuseppe Battiston (who seems to make one or more appearances at every Open Roads fest), and together, with the help of stalwarts like Stefania Sandrelli, they alternate laughter and tears, surprise and delight at nearly every turn. Three years ago filmmaker Mazzacurati brought this festival one of its finest films that year The Right Distance (La giusta distanza). While The Passion is not as deep nor rich a movie as the earlier one, it nonetheless offers so much intelligence and humor about so many important subjects that it makes a fine addition to the lighter side of this year's festival. And Orlando and Battiston, as usual, could hardly be better.
Paolo and Vittorio Taviani, tells us that she first came to the Aeolian Islands as a child, as her father and uncle were filming Kaos. Now, back there as an adult, she's entranced with the islands all over again. Chances are, you will be equally taken with these strange and alluring outcroppings, once you see and hear what Ms Taviani has to show and tell. Stromboli, you'll be aware of from the Rossellini film, but what of Vulcano, Panarea, Lipari and Salina? Taviani shows us all of them, together with what makes them special: the lung disease from mining pumice stone on Lipari, the prison on Salina used by the fascists to inter political prisoners, the wind witches of Panarea and the volcanos of Stromboli and Vulcano. She talks with locals about the old days and now, and we see snippets from films of Ingrid Bergman and Anna Magnani (we hear quite a bit about the later -- sad woman!), and from Il Postino and Caro Diario. Given the locations and their supreme visuals, watching the film is like taking a vacation to a strange and wondrous land (and sea). But Taviani is also able to twine history, legend, and all sort of facts into one very personal, beautiful, sometimes magical movie. Her mind and her interests roam all over the place but never so far afield that we can't follow. And happily.
THE SALT OF LIFE (Gianni e le donne)
directed and co-written
(with Valerio Attanasio)
by Gianni Di Gregorio
Mid-August Lunch proved such a sleeper hit for Zeitgeist Films, that company very quickly and smartly picked up the actor/ writer/director's new one, which proves an even more delightful experience. Part of the charm of that first film resided in its singular Trastevere setting, so very unlike anything we have here in the USA. Also unusual for us was the closeness of the very elderly mother and her approaching-his-senior-years son. We tend to ship our elders off to rest, retirement and assisted-living homes. But in this film, mother and son live together, with the younger caring more and more attentively to the elder. Chances are Di Gregorio's new one -- which translates literally into Gianni and the Women but is now called THE SALT OF LIFE (Getting Gianni Laid would have been more appropriate) will probably appeal to an even larger audience, since it deals with the male ego, aging and fantasy. (How universal is that?) If initially the movie seems sexist, simply wait a bit. Soon, the rug is pulled from under our assump-tions, and the film becomes even funnier. Di Gregorio has a keen eye for generational differences and those between the sexes, too. If, as writer and director he is top-notch, he's even better as actor. A perfect straight man, he never pushes and consequently gets all his laughs -- and more. I can't imagine audiences leaving this film without a mile-wide grin on their face.(Although both screenings at Open Roads are sold out, the film will be released theatrically, so you'll have the chance to see it eventually.)
Private and In Memory of Me) are so right and so damned gorgeous you couldn't take your eyes away from the screen, even if someone shouted Fire! Some kind of exotic children's "theater" is taking place, and the camera weaves in and out of the sets and around the actors, even as the credits are rolling -- in huge electric-blue letters with the first name twice as large as the last. This is a phenomenal opening, and it comes to a sudden, shocking close as a scream is heard. How do you top this? You don't, and as a matter of fact, Costanzo doesn't either. He comes close now and then with the some very strong scenes, and he has two wonderful actors at his beck and call: Italy's answer to Meryl Streep, Alba Rorwacher, as Alice, and newcomer Luca Marinelli making his screen debut, as Mattia. Alice and Mattia are loners who, thanks to perhaps a combo of DNA and parental screw-ups, have trouble relating to anyone else. We arrive at this conclusion early in the movie via some powerful scenes that communicate the aloneness very well. We also have questions about how the children became the lonely adults they are, and we assume that these will be answered over time. Costanza and Giordano weave their narrative back and forth over time periods until we know pretty much what we wanted and needed. But by then, we don't care. There is only so much that even fabulous actors can do with a minimal script, and what we see here is pretty much this: Oh, they're so alone. Then, Gosh, they can't communicate with anyone. And further: they're so singular and off to themselves. And finally: But why spoil it? We know everything that has and will go on around the halfway point, and so the rest becomes highly dramatic vamping. The film may work best for those who read the novel on which it is based and can fill in the blanks. For the rest of us, the film marks Costanzo's first fumble.
written and directed by Marco Bellocchio
film that first brought him international acclaim, Marco Bellochio proves that, not only can you go home again, you can make something pretty snazzy out of the experience. Bellocchio has always gone his own way -- and lived to reap the rewards and brickbats of doing so. Who else but he would fill Vincere with slogans, old movies, speeches -- and art? Who else would give us Aldo Moro alive and well, while making us feel the pain of the revolutionaries, as well as of the politicians? He's doing it again with his new film that tracks a ten-year period, with stops in 1999, then 2004, 05, 06, 07 and 08, as the younger generation of a family impacts on the older set. Who is right? Sometimes, it seems, the former; other times, the latter. Sorelle Mai deals with similar subjects as Assayas' Summer Hours, but you could hardly imagine two more different films. The filmmaker uses many of his own relatives in roles, along with major actors -- Alba Rorwacher and Donatella Finocchiaro, both appearing in their second film in this series of Open Roads. Rorwacher, in fact, appears in the segment that strikes me as just so Bellocchio. We're suddenly in a teachers' conference during which the passing or failing of various students is taken up. We initially try to figure out who thse people are and how they conect to others we've seen earlier in the film. Well, they don't. At least I don't think they do. Some of the filmmaker's relatives play roles here, but still... And yet so absolutely well-done is this segment, so important does it seem -- about the meaning of education and work in a productive society and the individual's responsibility in all this -- that I wouldn't have missed seeing it for the world. (It is the world.) Then we're back again with the characters from previous sections -- for an ending that is sad and strange but somehow perfectly understandable. Pure Bellocchio. Long may he wave.
Pierfrancesco Favino (on poster above), Giuseppe Battiston (again!), Edouardo Gabbriellini (Non pensarci and I Am Love), Fabio Volo (Casomai) and Claudia Pandolfi, from last year's Best Italian Film The First Beautiful Thing (seen at Open Roads and released theatrically last month).
WE BELIEVED (Noi Credevamo)
directed and co-written by Mario Martone
Garibaldi, but I was still able to follow and understand what was going on -- and more importantly, why.) Martone gives us history lived - via specific people and incidents that span a 30-year period. As we get to know and understand these people -- their backgrounds, needs, desires and, yes, betrayals -- we become emotionally involved with them all. This makes it more difficult to judge them so easily as heroes or villains. This is history as one step forward, two backward. Oh, how many plots, plans and attempts simply do not work or do not provide the hoped-for consequence (more likely an unintended one). With some beautiful ,sweeping camerawork, Martone takes us from the salons of Paris to Montefusco prison, from the opera house to the guillotine, from country taverns to Garilbaldi's recruits on the beach saluting their leader on the cliffs above. In the huge and noteworthy cast are Open Roads regulars Luigi Lo Cascio, Michele Riondino and Toni Servillo to the likes of Fiona Shaw (as Emilie Ashurst Venturi, daughter of a famous British radical and follower of Mazzini. The filmmaker gives us both imagined characters and those from real-life, and both work well together.We get history passed from father to son, Italians killing Italians with impunity, betrayals (often because of class as much as of politics) and, in the absolutely brilliant conclusion, a trip to Parliament to learn the results of all these endeavors. We Believed surprises by showing us how much in common so many western would-be democracies have with Italy -- 150 years ago, and today. (You can read my slightly longer piece on this fine movie here.)
Silvio Soldini's Days & Clouds is to witness a transformation that happens maybe once in a career. (This new movie, by the way, is his standard; Days & Clouds was a rare foray into drama.) Whatever -- or whatsoeverly -- this guy is something else. In his new movie, he plays a criminal kingpin who's been abroad (avoiding the law) and who now returns to his home town to discover that it's gone "honest and law-abiding." How un-Italian! So he determines to do something about this, and from there we get the funniest comedy of this year's bunch. From the first scene, in which a group of power brokers sit around a table deciding on the right man for the job (and isn't that a clerical collar we see on one of them?) to a later scene in which a police inspector asks for a receipt (and practically brings the establishment -- maybe the entire town -- to its knees) the movie is dead-on hilarious. The "tasteful" sets and costumes of this man's home are enough to make the ticket price worthwhile, not to mention the new meaning of the word "ponder" that the movie provides. (We'll all be out pondering soon.) Our hero is so sleazy that one can only hope Donald Trump tunes in for lessons. Director Manfredonia, who two years ago brought his lovely comic ode to work and the handicapped, Si può fare, to Open Roads, handles this much broader comedy with elan. If it begins to run out of steam toward the end, this may be due to the constant need to top itself -- or maybe to the fact that, finally, considering the behavior and attitude of a certain shall-remain-nameless Prime Minister named Berlusconi (ooops: I gave it away), this all begins to seem too true and too depressing. Still, for more than three-quarters of its 96-minute running time, the movie is prime comedy steak.
THE WOMAN OF MY LIFE
(La donne dela mi vita)
directed by Luca Lucini
co-written by Cristina Comencini
Max Ophuls of La Ronde, Le Plasir and Lola Montès delighting in its content -- if not its style. Opening with the still-sparking Stefania Sandrelli (her second stint in this year's series) speaking to us about her grown children, this would seem like a sweet, semi-confessional moment. Just wait. At the end of the film, when we come back to this little "chat," all here, including the listener, has changed. Two generations of threesomes are dissected here, both of them prime Cleopatras: queens (and kings) of denial. The older generation -- Sandrelli along with her current and former hubbies -- has nothing on its warring children, played by Alessandro Gassman and Luca Argentero, and the young woman (played by Valentina Lodovini) who comes into their lives in two different ways. Comencini's dialog, Lucini's direction and the fine ensemble cast keep things bouncing along with such good spirits that you don't realize quite how dark and delusional everyone here is. And yet they manage. As do we, right? This is an adult comedy in ways that keep coming clearer throughout the film. What initially looks like mainstream humor turns out to have quite a bite.
OK: that's it, folks. For a look at the Film Society of Lincoln Center's Open Roads web site with all the films posted, click here. Then scroll down and click on the screenings of your choice (in red) to buy tickets for (almost) any of the films.