But it seems to have worked: Castellitto has found a vivid visual equivalent for Mazzantini's uncompromisingly literary prose, while Mazzantini's strong story and characters rescue her husband from the unfocused whimsy of his first directorial outing, Libero Burro, which had a brief box-office life at home. Penelope Cruz, as the ragtag object of the obsession of the character portrayed by magnetic star/co-writer and director Sergio Castellitto, is actually named "Italia," is an Albanian immigrant, and lives in a condemned house amidst the ruins of a thwarted and overly ambitious luxury housing project, which somehow towards the end of the movie seems to be located in the same town as the successful surgeon who lives in a gorgeous seaside villa with his beautiful, loving, highly educated and not oblivious wife. Nel film l'attrice Penélope Cruz recita in lingua italiana, e la sua interpretazione è stata elogiata dalla stampa di tutto il mondo. Il San Francisco Chronicle l'ha definita «la nuova Anna Magnani del XXI secolo, in grado di comunicare la sua essenza in italiano meglio di quanto non riesca a fare in inglese». [3] Riconoscimenti [ modifica | modifica wikitesto ] The two meet a la Catherine Breillat's sexually brutal films, but the trajectory of their lives becomes more conventional and tragic, as the power shifts between them. It is obvious from the beginning that Cruz (who doesn't sounds squeaky speaking in Italian as she does in Engllish) is a poster child for low self-esteem due to childhood abuse, while the doctor, with his own father issues, clearly feels more at east slumming with her than with his own wealthy doctor-as-god friends and their own failing marriages. The rape scene between Cruz and Castellitto is much briefer than that in "Irreversible" but just as uncomfortable to watch.

It is the way these bare bones are fleshed out, though, that makes Don't Move so refreshingly original and emotionally compelling, rescuing it from B-movie schmaltz and pushing it into the morally demanding realm of Almodovar or Kieslowski. All of this would be ok (sort of) were not it for the fakey nature of the whole book. The protagonist is a doctor, but I never believed for a second that he was an actual doctor. Perhaps it's because I recently read Ian McEwan's excellent Saturday. In that book, the doctor protagonist throws around all kinds of medical terminology, but he actually sounds and thinks like I imagine a doctor would. The doctor in this book, on the other hand, says things like, "She's going to die, isn't she? We both know it. Her head is flooded," and, "I don't remember anything about the brain. I wouldn't be any help to you..." Are you kidding me? In other places, it's an odd mix of tossed off medical terms and Kindergardener doctor-speak. "Your pupils are anisocoric. The right one is completely dilated; the intracranial trauma is in that hemisphere. You need immediate surgery so your brain can breathe." La figlia è sotto i ferri (un collega dell'uomo la sta operando); lui, ovviamente, baratterebbe l'anima con il diavolo per salvare l'amato bene. The director and male lead Sergio Castellitto - who plays the cowardly ambiguous surgeon Timoteo - is as immense as always. He's also the other co-screenwriter of the movie. He's - above all - author Margaret Mazzantini's husband of many years. His was clearly a true labor of love.

Don't Move is worth any number of seminars on the state of Italian cinema, and is ample proof that there is life in the old dog yet. The cynical might object that this is because of a standout performance by Spanish star Penelope Cruz, who does something akin to Charlize Theron in Monster, sending a career that has been on creative pause since All About My Mother into sudden fast forward by going magnificently ugly and awkward. Just to get an idea of her greatness in this movie, here are actor-director Sergio Castellitto's words at the press conference for the movie, which took place in Rome on March 9th: Really nothing in Penélope Cruz's resume will prepare you to what she does here, not even what I think was her best performance before this movie, i.e. Sister Rosa in Pedro Almodovar's ALL ABOUT MY MOTHER ... nothing indeed! Not to mention that she acts here in Italian language, and she commands it perfectly. Lo stile di scrittura, soprattutto all’inizio, mi ha dato davvero fastidio. Ha usato termini ormai dimenticati, come se volesse far vedere quanto sia forbito il suo lessico. Poi fortunatamente va scemando, e lo stile si semplifica, o forse sono io che mi sono abituata, ma per questo ho fatto fatica ad immergermi nella storia. Just saw this film at a local Italian Film Festival and it easily was the best film of the fest, and one of the best movies I've seen all year. For adults only, but worth the watch when and IF it ever comes to the USA (wake-up acquisitions people!!!)

Of course, the issue of the redemption of Timo, as well as the “resolution of […] core issues” (Toscano 9) necessary to a positive resolution of the sentimental storyline do not apply to this text. Don’t Move is not a romance novel, but it represents an instance in which literary studies and romance studies could fruitfully dialogue to shed light on tropes that evidently do not only belong to a specific genre, but to a broader spectrum of literary imaginings and categories of thought. E mentre leggo, scorgo qualche piega del precedente lettore, le classiche orecchie che io non farei mai, due, tre forse, a scandire il ritmo di un lettore, o i di una lettrice che ha letto in fretta come me, cento pagine alla volta, magari cento per giorno, in fretta come me, e che infine ha barattato la storia.C'è un incidente e così che, in pochissimi secondi, il destino di più persone rischia di cambiare per sempre. Per adesso, è in attesa, appeso a un filo molto (molto) sottile. Morale della favola: cosa salvo di questo libro? Ben poco… non sapendo come va a finire (non che la cosa mi interessi a essere sinceri... e un po' brutali), non posso nemmeno dire se, nelle ultime pagine che ho mancato di leggere, si assiste a un exploit così stupefacente (e miracoloso) da farmi riconsiderare quando scritto sopra. in any case, it's another example of the dishonesty of a film which wants to be taken as a character study but in fact is esssentially an exploitation drama with an antonioni delusion. the characters, incidently are paper thin, though penelope cruz does an admirable job presenting the surface characteristics of this updated "gelsomina/virgin/waif" stererotype. and claudia gerini (as the rapist's wife) deserves serious praise for making the most of a criminally underwritten role. sergio castellitto-- normally a very watchable actor-- does remarkably little with his role here as the surgeon/rapist. it's as though the strain of exhibiting his sexual energies and urinary prowess had left him bereft of his usual acting skill and common sense. It has been a couple of days since i first watched the movie, and believe me or not, i saw it twice. The first time I was alone and its effect was so strong that I would have Italia (Penelope) in my mind all the time. Well, I don't. I can't. I can hardly breathe. And I'm not the only one in the small screening room where we are invited for a preview of Sergio Castellitto's movie, DON'T MOVE, some weeks before its official premiere in London.

the love story is with a girl who is presented as a cheap tramp. she appears to be a prostitute, and the surgeon (who is presented as living a passionless life) follows her home and rapes her. inexplicably, she falls in love with him, and we find out that, far from being a prostitute, actually she's an angelic immigrant who cleans up hotel rooms (i.e. other people's messy lives; i.e. she's a saint). Sergio Castellitto is quite well known here, perhaps mainly for his lead role in "Mostly Martha" where he shone. He brings a great presence to the screen although his character here is darker than the outgoing Italian chef in Martha. As for myself, well, after two days I'm still re-living all the marvelous, emotionally intense moments which I enjoyed while watching this movie. to underline the facile and puerile point of view, the writers even give the two women signifying names: the daughter is angela -- a kind of beatific (because in coma) metaphoric replacement for his lover, whose name is Italia, which has obvious and infantile meaning for this perfect virgin/whore, who perfectly serves the purpose of her dishonest, violent, and ugly macho rapist. incidently-- and astonishingly-- a fair number of italian males seem to be able to relate to this character. the relative success of this film in italy speaks volumes about the moral, spiritual and creative condition of italian society.

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Lo stile è semplicissimo nella sintassi, tante coordinate, periodi brevissimi arricchiti da più complementi oggetto separati da virgola, e senza troppe regole, (si tratta di un lungo racconto, ma a volte le varie scene sono scritte al presente, a volte al passato, senza che riuscissi a capirne la logica). Ci sono tanti esempi di indicativo, nonostante il verbo di opinione richieda di solito il congiuntivo (non usarlo indica arroganza in chi parla), che a volte mi hanno fatto rabbrividire e che in un tema scolastico di italiano sarebbero senza dubbio considerati errori: “Non so di cosa deve aver paura”, ad esempio, anche se in questo caso specifico potrebbe avere un senso. in short: truly a wretched film: dishonest, ambtious, pretentious, pseudo-intellectual. i suppose if you're a lapsed catholic with vague leftist leanings and no real intellectutal or moral spine--and suffering a life long existential crisis-- it might appeal.

Marco Giallini è Manlio; ginecologo, collega e amico di Timoteo. È l'unico al quale Timoteo confida di essersi innamorato. Ha un debole per Elsa.

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much of the film's running time is spent watching some astonishingly unpleasant sex scenes, visually favoring the physically unattractive male lead (who also happens to be the director). the directorial/narrative strategy of these scenes is quite ambiguous. we are also treated to a lengthy shot of the star/director urinating on a potted plant. Kontrastu un skumju pilna grāmata par eksistenciālām lietām, kuras ienāk mūsu apziņā, kad atrodamies dzīves krustcelēs. Autores valoda ir fantastiski skaista un Daces Meieres tulkojums izcils! Tādēļ šo grāmatu noteikti iesaku izlasīt. Bija rindkopas, kuras pārlasīju vairākkārt.