Swept Away (2002)

A snooty socialite is stranded on a Mediterranean island with a communist sailor.

Director:

Guy Ritchie

Writer:

Guy Ritchie (screenplay)

Stars:

Madonna, Adriano Giannini, Bruce Greenwood

Bottom Rated Movies #90 | 8 wins & 8 nominations.

Cast

Cast overview, first billed only:
Bruce Greenwood	...	Tony
Madonna	...	Amber
Elizabeth Banks	...	Debi
Michael Beattie	...	Todd
Jeanne Tripplehorn	...	Marina
David Thornton	...	Michael
Yorgo Voyagis	...	Captain
Ricardo Perna	...	Crew Member
Adriano Giannini	...	Giuseppe
George Antoni	...	Chef (as George Yiasoumi)
Beatrice Luzzi	...	Rich Lady
Lorenzo Ciompi	...	Rich Man
Patrizio Rispo	...	Burly Captain
Francis Pardeilhan	...	Tony's Assistant
Rosa Pianeta	...	Receptionist

Storyline

Amber is 40, beautiful, rich, spoiled, and arrogant beyond measure. Nothing makes this woman happy, including her wealthy but passive husband (Tony), a pharmaceutical kingpin. When Tony takes her on a private cruise from Greece to Italy, Amber is unimpressed at this impromptu no-frills vacation, and takes out her anger on the ship's first mate, Giuseppe. When a storm leaves the two shipwrecked on a deserted island, however, the tables suddenly turn...

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Plot Keywords:

star vehicle | sexism | patriarchy | stockholm syndrome | assault | 

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Genres:

Comedy | Romance

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Motion Picture Rating (MPAA)

Rated R for language and some sexuality/nudity

Details

Official Sites:

Columbia Tristar [France] Sony Pictures [United States]

Country:

UK Italy

Language:

English Greek Italian

Release Date:

11 October 2002 (USA)

Also Known As:

Love, Sex, Drugs & Money

Filming Locations:

Italy

Box Office

Budget:

$10,000,000 (estimated)

Opening Weekend USA:

$354,052, 13 October 2002

Gross USA:

$7,876

Company Credits

Production Co:

Screen Gems, SKA Films, Codi S.p.a.

Technical Specs

Runtime:

89 min

Sound Mix:

DTS Dolby Digital SDDS

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

The film's working title was Love, Sex, Drugs and Money.

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Goofs

"When Guiseppe goes into the bar at the end after the first "bribe" by Amber's husband, he has shoes on. When he kicks the "re-suited" man out of the bar - he is barefoot." True, but his shoes were Crocs-type clogs. He could have easily left them at the bar for ease of mobility when kicking out the re-suited man.

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Quotes

Amber: Are you scared, Nature Boy?
Guiseppe: Scared? I'm a fisherman. I was conceived on the crest of a wave and born in the belly of a boat. What is the meaning of this word scared?

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Connections

References The Godfather (1972)

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Soundtracks

Come-On-A-My-House
(1951)
By Ross Bagdasarian and William Saroyan
Published by Armen Bagdasarian (ASCAP)
Used by kind permission of Universal / MCA Music for World (Ex. USA & Canada)
Performed by Della Reese
Licensed courtesy of RCA Records and BMG Entertainment International UK & Ireland Ltd.

User Reviews

Why does the woman even bother anymore...?

I almost saw this at an actual movie theatre (an art-house theatre, no less!) but couldn't make it there in the one whole week it played, but yesterday I finally saw it on cable and...well...I wasn't disappointed, that's for sure! Madonna has done it again: YET ANOTHER BOMB! When will this woman learn? When will the studios learn? (Or perhaps they already have, since this film was largely dumped, with little fanfare and deadly word-of-mouth.) One would hope that being directed by her talented husband, who's created some interesting and/or terribly entertaining work, would bring out the same quality Madonna showed in "Desperately Seeking Susan"; alas, it just isn't meant to be, for here she is, at her very worst: singularly convinced of her own greatness, the smugness permeating every frame she's in, made all the more unbearable by her wavering faux-British accent, an accent that only underscores the fact that her speaking voice is immature in quality and not especially pleasant. This may sound unnecessarily cruel but LISTEN to the woman, and LOOK at her films of, say, the past decade: like a latter-day Bette Davis, there is an unmistakable brittleness to not only her carriage but to her very face and body, which here, despite the warm photography displayed throughout the film (perhaps its only saving grace), are done no favors. To her credit, the entire affair is so misbegotten that one wonders if the world's greatest actress on her best day could do anything with this mess. No one involved escapes unharmed: Bruce Greenwood actually seems pained to be on-screen, though poor Jeanne Tripplehorn seems to carry herself as if she's actually in something good, which had me thinking all the while, "Denial ain't just a river in Egypt!" Adriano Giannini, son of Giancarlo Giannini, star of the Italian original, "Swept Away...", is, like his father before him, immensely attractive, and isn't altogether bad (despite winning a Razzie nomination for "Worst Actor"), but, like almost everything else about this production, it all comes back to Madonna, on whose shoulders rest the blame. Why her? Why not her husband, director Guy Ritchie? Just who do YOU think was behind this remake? What actress wouldn't want nearly every shot of a movie to be centered on her, with only a relative nobody sharing the screen? Oh sure, Ritchie deserves some blame: surely he - or someone - ANYONE! - should have, and could have, taken his lead aside and insisted on something bordering on ACTUAL FEELING in her line readings (for her performance is so wooden it's a surprise the rest of the cast didn't get splinters), or at least display a semblance of warmth...but she seems resistant to be anything but a cinematic black hole. Above and beyond anything else, this is strictly a vanity project for its star so she is ultimately accountable for it. A film like this, an "Odd Couple"-ish, war of the classes, should be light and fun, with leads who can bounce off one another with witty, even romantic, dialogue, for what else can a film whose plot involves two disparate people stranded, really be? Honestly, I don't think anyone involved knew exactly the tone they were trying for; it succeeds neither as comedy (I defy you to laugh even once) or romance (Madonna's ice-princess routine precludes ANY chemistry). It's not even bad enough for us bad-movie lovers to enjoy. A real shame...