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Bella Addormentata, De Marco Bellocchio

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Bella Addormentata, De Marco Bellocchio BELLA ADDORMENTATA DORMANT BEAUTY a film by Marco Bellocchio Venice 2012 / In Competition PRESS REVIEW International sales CELLULOID DREAMS RENDEZ-VOUS Viviana Andriani / Aurélie Dard 25, fbg St. Honoré 75008 Paris FR tel : +33 1 42 66 36 35 www.rv-press.com Dormant Beauty Bella addormentata (Italy-France) By Jay Weissberg "Dormant Beauty" A 01 Distribuzione (in Italy) release of a Cattleya, Rai Cinema presentation, in collaboration with Friuli Venezia Giulia Film Commission, of a Cattleya, Rai Cinema, Babe Films production, in association with La Sofica, La Banque Postale, Mage 5, La Sofica Manon 2. (International sales: Celluloid Dreams, Paris.) Produced by Riccardo Tozzi, Giovanni Stabilini, Marco Chimenz. Co-producer, Fabio Conversi. Executive producer, Francesca Longardi. Directed by Marco Bellocchio. Screenplay, Bellocchio, Veronica Raimo, Stefano Rulli. With: Toni Servillo, Isabelle Huppert, Alba Rohrwacher, Michele Riondino, Maya Sansa, Pier Giorgio Bellocchio, Gian Marco Tognazzi, Brenno Placido, Fabrizio Falco, Roberto Herlitzka, Gigio Morra, Federica Fracassi. (Italian, French dialogue) Italy's contentious debate over euthanasia forms the backdrop to Marco Bellocchio's thought-provoking exploration of life, love and politics, "Dormant Beauty." Set in 2009, when the country was wracked with infighting over the fate of comatose Eluana Englaro, the pic uses four stories to tease out debate on the sanctity of life. Itself the object of political wrangling, "Beauty" has numerous scenes of enormous power, though removing one unnecessary plot strand would allow deeper probing elsewhere. Controversy at home will help local biz, while the stimulating artistry should awaken arthouse interest. Here's the real backstory: Englaro's father attempted to take her off life support once it was clear she'd never awake from a coma. Due to interference from conservative politicos and the Catholic Church, his request was denied, and only 17 years after Englaro entered a vegetative state did the courts grant her father the right to discontinue feeding. The ruling set off a political firestorm, with Prime Minister Silvio Berlusconi's party promoting a bill to force the hospital to put Englaro back on life support. With the president refusing to sign the decree, a constitutional crisis was narrowly averted when Englaro died in February 2009. That was just the start for Bellocchio: Right-wing politicos in the Friuli Venezia Giulia region were so furious about the province's film commission supporting "Dormant Beauty" with €150,000 ($190,000) that they closed the commission down and channeled the film funding portfolio to the region's conservative-leaning tourist board. The irony is that the pic avoids judging either side, instead saving its caustic attacks for ethics-free, self-protective government types. Some knowledge of the Englaro story is crucial, since the action is set over the course of her final days, and constant news streams keep abreast of every parliamentary move. Sen. Uliano Beffardi (Toni Servillo) shifted his political affiliations to the right, and is serving his first term in Berlusconi's party. Now he's planning to vote with his conscience against the anti- euthanasia bill, but party whip Luigi (Gigio Morra) works hard to convince him that loyalty is more important than integrity. Beffardi's devout daughter, Maria (Alba Rohrwacher), is on the other side. With memories of her own mother's extended hospitalization still fresh, Maria's beliefs in the sanctity of life are firm. Her attachment to other Catholic doctrines are more vague, especially when she meets Roberto (Michele Riondino) in the opposing protest camp, and the two start an affair. Meanwhile, a famed French actress known here as "Divine Mother" (Isabelle Huppert) turned her house into a shrine-cum-hospital for comatose daughter Rosa. Fiercely chanting her Hail Marys, she's so obsessed with catching God's attention that she neglects her son (Brenno Placido) and her husband (Gian Marco Tognazzi). The last storyline sees Dr. Pallido (Pier Giorgio Bellocchio) save drug addict Rossa (Maya Sansa) from self-annihilation. Bellocchio states his pic isn't neutral, but rather "non-ideological," an accurate description for a work that expresses sympathy for all sides of the religious debate except when it becomes fanatical, as with the Divine Mother. Ever the actress, she's unable to pass a mirror without glancing at her reflection, and Huppert's intensity emphasizes the performance behind fulfilling religious duties. Some may wonder if the drug-addict strand is necessary, though Rossa's moving speech toward the end makes it worthwhile. The truly superfluous story involves Maria and Roberto, and especially Roberto's disturbed brother, Pipino (Fabrizio Falco). Maria's counterweight to her father is successful, but her instant romance with someone on the opposing side of the euthanasia debate merely illustrates the rather banal idea that love isn't partisan. Far more successful are the political scenes, which Bellocchio captures with his customary sharp eye for public bluster vs. private delusion. He's certainly not neutral here, gleefully allowing Berlusconi and company to self-destruct via news footage. Stealing the show, however, even from the superb Servillo, is Roberto Herlitzka as a parliamentary psychiatrist, a Faustian figure of blase cynicism doling out antidepressants with weary inevitability. Scenes in the Senate sauna are some of Bellocchio's most wickedly inspired. D.p. Daniele Cipri once again proves his mettle, with richly supple camerawork and mature tonalities, while Bellocchio's regular editor, Francesca Calvelli, effectively handles the intertwining stories. Marco Dentici's production design is spot-on, from the sauna scenes to the opulent home of the Divine Mother, decorated with more roses than a funeral parlor. Few film composers can deliver sumptuous orchestrations as skillfully as Carlo Crivelli, and fewer helmers know as well as Bellocchio how to use them to further the mood within a scene, rather than to anticipate emotion. Camera (color, widescreen), Daniele Cipri; editor, Francesca Calvelli; music, Carlo Crivelli; production designer, Marco Dentici; costume designer, Sergio Ballo; sound (Dolby Digital), Gaetano Carito; line producers, Antonella Iovino, Matteo de Laurentiis; assistant director, Lucilla Cristaldi; casting, Stefania de Santis. Reviewed at Venice Film Festival (competing), Sept. 5, 2012. (Also in Toronto Film Festival -- Special Presentations.) Running time: 114 MIN. Dormant Beauty (Bella Addormentata) Venice Review 9/5/2012 by Deborah Young Maya Sansa and Pier Giorgio Bellocchio in Dormant Beauty The Bottom Line Marco Bellocchio reaffirms the dignity of life in another film of sparkling intelligence, set around a real-life euthanasia case. Venue Venice Film Festival Cast Toni Servillo, Alba Rohrwacher, Maya Sansa, Pier Giorgio Bellocchio, Isabelle Huppert, Michele Riondino, Roberto Herlitzka Director Marco Bellocchio Screenwriters Marco Bellocchio, Veronica Raimo, Stefano Rulli Italian master Marco Bellocchio's tale of a modern-day Sleeping Beauty features a top cast top-lining Toni Servillo, Isabelle Huppert, Alba Rohrwacher and Maya Sansa. With typical intelligence and complexity, director Marco Bellocchio weaves three stories around the politically hot topic of euthanasia, turning a real-life Italian national drama into engrossing narrative for sophisticated audiences. Refusing to offer easy answers or perspectives, Dormant Beauty is directed in such a way it doesn’t need to take a clear-cut position on the question, because like all the director’s work it has no concern with convincing people of anything, but a great deal of interest in illuminating contemporary Italian society. Its unqualified success in doing so should make it a full-fledged contender for a major prize at Venice and help it to closely imitate the international sales of his recent work. our editor recommends Like Bellocchio’s film about the Aldo Moro assassination, Good Morning, Night, the story takes off from real events that obsessed Italians in 2009 when Beppe Englaro decided to take his daughter Eluana, in a coma for 17 years following a car accident, off mechanical life support. The most remarkable thing about the case was the father’s insistence on seeing Italian law applied rather than taking the easy route of doing it quietly on the sly (the film shows two examples). The case of Eluana became a cause celebre that pitted pro-life activists against the girl’s family; prime minister Silvio Berlusconi also got involved and politicians, seeing fertile ground for cashing in on voters’ strong feelings, turned the sad case into a parliamentary vote. The case is still a hot topic as shown by the fact that the Northeast province and region of Friuli-Venezia Giulia, where the film was shot, took the almost unbelievable step of cancelling their active Film Commission, theoretically for budget reasons but most probably to block financing to this film and avoid controversy. The Film Commission logo does appear on the opening credits, however. As might be expected from the director of My Mother’s Smile, a.k.a.The Religion Hour, Catholic vs. secular views about euthanasia square off. The religious-minded young Maria (Alba Rohrwacher sporting a no-makeup, Catholic schoolgirl look) demonstrates on the opposite side of police lines from a boy she likes, Roberto (Michele Riondino), and his rabidly angry, mentally ill brother. It’s an honest, clean relationship that leaps across ideological barriers, at least while they fall in love. In another story so subtly interwoven it seems to overlap, a famous actress (Isabelle Huppert) obsessively cares for her own coma-stricken sleeping beauty, her daughter Rosa, with a small army of nurses and nuns. Though no cardinals or bishops appear in the story, Huppert embodies the Catholic p.o.v.; her neglected son even calls her “the Divine Mother.” It’s not a disrespectful portrait of a mother’s pain, but the very fact that the cold Huppert plays a Francesca Bertini-style diva, one who dreams of Lady Macbeth in her sleep, signals how distant she is from the screenwriters’ affection.
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