Baaria

BAARIA is another masterwork form the consummate film artist Giuseppe Tornatore. Tornatore is so highly regarded in Italy and Sicily that famous actors fight for the opportunity to work in one of his luminous films, agreeing to take minute walk on roles just to be near the director: Monica Belluci, Ángela Molina, Beppe Fiorello, Raoul Bova etc. This film deserves close attention form the viewer - and in some ways it may be better to view the DVD's Interview with Giuseppe Tornatore BEFORE watching this film so that the writer/director's concept and technique is understood before the story unfolds.

Baarìa is Sicilian slang for Bagheria where Tornatore was born and this is an autobiographic epic of three generations in the Sicilian village where he was born. It begins in the 1920's where Giuseppe "Peppino" Torrenuova lives with his brother Nino and his parents in a hovel. They are so poor that Peppino's father advises him to become a shepherd in order to help support the family. Peppino progresses to taking a cow around the town to fill the milk buckets of the townspeople, struggles through school, progresses to young adulthood when he falls in love with Mannina and going against Mannina's family's dream of having their daughter marry money, the two elope - in the home of Mannina! - and it is here that the characters become the adults who carry the film. Of note, Tornatore elected to cast the main characters with little known Sicilian actors: Peppino is Francesco Scianna and Mannina is Margareth Madè - both brilliant in their roles. From this point the time passes through historical references to Il Duce, the mafia, WW II and the coming of the Americans, but more important is Peppino's idealistic concept that his future lies in politics. He becomes a Communist, rises in the ranks, eventually even visiting Moscow to meet with Stalin, and returns to Baaria to help the people struggle for land reform and socialism, all the while he continues to have children with Mannina and follow his dreams of being a successful politician, a dream that is as fragile as it is unattainable.

The film flashes back and forth in time and has no linear story line: Tornatore is more interested in taking snippets of his memories of his past life growing up in Baaria than he is in keeping the audience clear about the characters who flash in and out of the story. His use of children is magical - they seem more wise in their innocence that the adults. But take the movie for what it is - a mélange of remembered moments in the writer/director's life - and witness some of the most beautiful moments ever created for the screen, such as the eventual death of Peppino's father who passes his wisdom to his son, and Peppino's advice to this oldest son as the son takes the train to Rome: the son asks 'Why do people call us hotheaded?' to which Peppino answers 'Because we think we can embrace the Universe, but our arms are too short.' Peppino's wisdom he passes to his son is to follow his heart at all costs and there will he find satisfaction. This film is overflowing in such moments and watching it is like opening a treasure trunk full of dazzlingly memories. The musical score by the evergreen Ennio Morricone is absolutely one of his finest - a score the composer created in conjunction with Tornatore.

There is a problem with the DVD that hopefully someone will solve: the English subtitles (the film is in Italian and Sicilian) are very difficult to read - so bleached out are they over backgrounds of bright Sicilian light. It is a post-production flaw that needs to be corrected for non Italian speaking audiences, but even with that minor problem, this is one of the most touching and tender and emotionally satisfying films this viewer has ever seen. 10 stars!

Grady Harp

A red carpet event of major proportions. First time in 20 years that an Italian film opens the prestigious Venice Film Festival. The expectations were palpable. The film, as far as I'm concerned, a very personal 30 million dollar artsy rehash of a lot of common places. In a way the two and a half hours seemed to me the promotional teaser of a movie we have yet to see. In fact it looks and feels like a long, long trailer. Naturally, Tornatore knows how to steer sentiments and has a vivid commercial eye that survives in spite of the artistic aspirations. There are a couple of wonderful moments and it's a treat to see dozens of Italian stars making very brief cameos in a beautiful reconstructed city. The question is, after the emotional soirée, this morning it took me well after breakfast to remember the actual movie and I suspect that is because "Baaria" is too much and not enough at the same time. What come back to me at this very moment, trying to remember the epic is the wonderful face of Lina Sastri. So, Tornatore and his major collaborator Ennio Morricone are heading back to Oscar land. I wish them luck

A long series of pretty pictures, very pretty and very long, but nothing close to real emotion. Everything feels so prepared to get an Oscar nomination that it may get it. It was in competition at the last Venice film festival but didn't win anything because, I imagine, the Venice Film Festival is a showcase for serious, innovative cinema and "Baaria" is none of that. It is a strange experience to sit through something so sentimental and come out with the sentiments intact. When you get a postcard from a loved one what may make you cry is what it's written not the picture in the card. "Baaria" is a blank card. I saw it only an hour ago in a well attended Roman cinema and the images that remain are just that, images without anything real attached to it. A who's who of Italian cinema parade in small cameos but I couldn't tell who was who. I think in Italy people are determined to transform "Baaria" into a big hit and why not. It is a pretty travelogue of a history lesson that looks like a fairy tale.

I saw this last month at the 2010 Palm Springs International Film Festival. From famed writer/director Giuseppe Tornatore this was Italy's official submission to the 82nd Academy Awards for Best foreign Language Film and was nominated for a Golden Globe in the same category so despite its rather lengthy 150 minute run time I was looking forward to seeing this. Also it is set in beautiful Scicily and features 40 of Italy's top actors in lead and cameo roles and a music score from the great Ennio Morricone so on paper this looks like a sure-fire hit. It certainly has an epic quality about it and it's nice to look at but there are just too many acting roles with very little for them to do. The time frame of it's setting covering three generations is too ambitious. The story line is too weak. the story takes place across the first half of the 20th century. Peppino (Francesco Scianna) is the son of a Shepperd who grows up to be a local rep of the Communist Party and has a forbidden romance and marriage to the beautiful Mannina (Margareth Madè). Beautiful photography from cinematographer Enrico Lucidi complementing the lovely art direction and production design of Maurizo Sabatini and Cosimo Gomez with some nice special effects this is a great looking film but it's wandering story line and fairly weak dialog drags it down. There is a lot to like in this film but despite the expense that must have gone into making it it falls way short of being an excellent film. I would give it a 7.0 out of 10.

I was very disturbed by this film and not the kind of disturbance a Polanski or a Pasolini may provide but a disturbance that goes beyond what was on the screen. The Italians tend to be so strict, so serious when it comes to films by an "auteur" so, how is it they give Giuseppe Tornatore a thumbs up for this sentimental without sentiment, two and a half hours television commercial? I kept waiting for the film to start but it never does. Headlines without the article that explains it. Snippets, sketches enveloped in lots and lots of sticky music. This could perfectly have been the work of an American director who's never been to Sicily. A children's coloring book. I'm so puzzled