Displaying items by tag: Alba Rohrwacher

MARIA

Germany, 2024, 124 minutes, Colour.

Angelina Jolie, Pierfrancesco Favini, Alba Rohrwacher, Haluk Bilginer, Kodi Smit-McPhee, Stephen Ashfield, Valeria Golina, Caspar Phillipson.

Directed by Pablo Larrain.

It is almost 50 years since the death of famed opera singer, Maria Callas. She died in 1977, aged 53. Franco Zeffirelli made a film of the last week of her life, Callas Forever, with Fanny Ardant. Fanny Ardant collaborated with documentary filmmaker, Tom Volf’s documentary, 2017 documentary, Maria by Callas.

This is a film for both older audiences and younger audiences. It will offer older audiences the opportunity to remember, to listen again to the many arias throughout this film, the voice of Callas herself. The film will offer to those younger, who don’t remember her, a vivid portrait.

The film was written by English screenwriter, Steven Knight (Pretty Dirty Things, Peaky Blinders and many films and television series) but, importantly, was directed by the Chilean, Pablo Larrain, directors of significant political films but also two other biographies of significant 20^th century women, Jackie (Jacqueline Kennedy Onassis) and Spencer (Princess Diana). Interestingly, there is the common denominator of Aristotle Onassis in Jackie and Maria.

And the choice of Angelina Jolie. She moves quite majestically through the film, often sweepingly, not only a prima donna, but one might say the sola donna, proud, sometimes arrogant in her interactions with people. The main focus is on the last week of her life, opening with her death, flashbacks of the previous week but, of course, flashbacks to past performances and achievements, and memories of her relationship with Onassis, and the insertion of an episode of meeting Jacqueline Kennedy at a party, present at the birthday where Marilyn Monroe sang (and some acid comments on her voice), and an icy encounter with JFK. (Callas in fact sang at this occasion.)

However, the main supporting characters here are her to devoted servants, her butler and her housemaid of many years, played by Italian stars, Pierfrancesco Favini and Alba Rohrwacher. We look at the ways she interacts with them, as she speaks to them, always superior, but a deep affection and sometimes dependence on them.

There is also the device of her wandering around Paris, stopping at various locations, flashbacks to performances, especially an orchestra playing in the rain, a scene from Madame Butterfly… And, during this wandering, there is a young filmmaker, Kodi Smit McPhee, called Mandrax, the drug that she was taking for support, her interactions with Mandrax, her conversations, his response, final hallucinations as she reviews her life.

This is a portrait of Maria Callas rather than a biography, an opportunity to listen again, to appreciate, to wonder at the complexities of personality for figures in the public eye.

1. Audience knowledge of and admiration for Maria Callas, her voice, performance, career? What is knowledge of her life, mother, the war, criticisms of being fat, her emergence, her husband, the encounter with Aristotle Onassis, life with him, separating from him, her loss of her voice, her final years?
2. The work of the director, his portrait of Jacqueline Kennedy, of Princess Diana, and the into cutting off the two women and their lives with Onassis?
3. The framework of the film, the opening with Maria Callas’s death, her assistance standing around, the flashback of the seven days, the flashbacks within flashbacks, her performances, black-and-white photography, Angelina Jolie and her voice, the lip syncing with Maria Callas’s voice, the locations and her memories, her tablets, the filmmaker and her hallucinations, the conversations? The clash with her doctor? Of the theatre with the pianist, the technician in the spotlight, the journalist and his later confrontation?
4. The importance of Ferrucio and Bruna? With Maria Callas for so many years, butler, housekeeper, with her in Paris, Bruna and the meals, the conversation, The ratio and the moving of the piano, concern about the doctor, that Maria Callas’ beck and call, her treatment of them, her dependence on them, their loyal service? The memories of being at her performances in the past? The concern in the present, her death?
5. The film offering an overview of Maria Callas’ career, born in New York, her mother, the German soldiers, in Venice, the initial success, the visualising of the various concerts, the buildings in Paris, the performance in the rain with the orchestra, Madame Butterfly, her success, the decline? For testing her voice, but wanting to listen to her records? The final aria?
6. Her personal relationships, the glimpse of her husband, at the party, the encounter with Onassis, his estimation of himself, rich and powerful, his infatuation with her, the invitation to the yacht, going with her husband, the beginning of the relationship, Onassis’ love for her, her moving away, not marrying, the issue of children, not wanting to be controlled? But her final visit to him?
7. The contrivance of the scene at Kennedy’s birthday party, Marilyn Monroe’s happy birthday song, her comments of Marilyn Monror and the voice, the encounter with Jackie Kennedy, the yacht, the discussions with Kennedy himself, her estimation of himself and the relationships?
8. The device of the film, the director and the name of the drug, Mandrax, the interviews, his responses, initially stolid, mellowing, the various scenes and interviews? The device, the hallucinations from her drugs? Herself revelations?
9. The prima donna, the diva, her arrogance, treatment of people, the fan who had missed her performance and her treatment of him, the attack on the intrusive journalist, the conversation with the man at the bar and her music?

• The film as a portrait rather than a biography? Angelina Jolie’s performance? The sequences of actual Maria Callas during the final credits – more smiling and genial and throughout the film?

HORS- SAISON/ OUT OF SEASON

France, 2023, 115 minutes, Colour.

Guillaume Canet, Alba Rohrwacher, Sharif Andoura, Marre Drucker. Lucette Beudin, Hugo Dillon, Staphane Brize, Johnny Rasse, Jean Boucault.

Directed by Stephane Brize.

Pensive. Unhurried. Melancholic. Tres français. Vraiment.

Winter, hors-saison, a coastal French town where huge waves break on the rocks, or stream onto the vast beach whether anyone is there or not.

We follow a car to a modern luxury hotel, where Matthieu, a popular film star (and Guillaume Canet playing Matthieu is definitely that in fact). He has walked out on rehearsals for his stage debut, afraid, checking with his busy TV executive wife, getting the benefit of comfort, massage, therapy – although some comic scenes with the talkative,-theoretical Jim trainer and in his room where he finds it very difficult to cope with the technology, especially a recalcitrant and unstoppable coffeemaker.

Then a contact from the past. Alice (an excellent Alba Rohrwacher) with a more than five minutes restaurant conversation with Matthieu. The film becomes more about her and there is much more depth, more regrets as her life, marriage, motherhood, life in the town over 15 years is revealed. And the former relationship in the grim breakup, his abruptly leaving her.

This is a film of conversations, a number of restaurants, exploring the past. Alice reveals her home life, the audience getting a glimpse, especially of her hurt, her relationship with her daughter, love, truth, her talent with the piano, composition, teaching, but regrets…

Alice has friends in an aged care home and there is a strong sequence (though not necessarily key to the plot), an interview with an elderly woman about herself, marriage her relationship. At the celebration, enthusiastic song, dance, and a fascinating routine, enjoyably long, that most of us have never seen before, one reviewer referring them to as bird singers, another as “avian impersonators”. The couple really do have a talent for imitating the birds and dramatising the variety of their actions. One of the cinema moments when you feel the urge to join the applause as they take their bows.

The interaction between Matthieu and Alice lingers on, complex, a time for Matthieu leave, or not, Alice to keep on with her life no matter what. A wounding one-sided breakup has to give way to an amicable parting.

1. The title? The atmosphere of the winter town on the Brittany coast? The quiet, the bleakness, the weather? The ocean pounding on the rocks? The water coming in to the empty beach? The musical score?
2. The introduction to Matthieu, the car, the aerial shots of the road, the countryside, the car, his coming into the town, the hotel, the spa, the accommodation, his treatment, his room, the comedy with the recalcitrant coffeemaker, his idly opening and shutting the doors, the discussion with the theoretical gym trainer, the massage and its effect? The background of his marriage, the phone call to his wife, the television station, her efficiency as a manager? His attempt at theatre, overwhelmed, walking out, the phone call from the producer reprimanding him? Yet his great career as a movie star and people recognising him, photos and autographs?
3. The surprise phone call from Alice, her coming to meet him g, her personality, the revelation of the relationship 15 years earlier, his abruptly breaking the relationship? Stranding her, her coming to the town, marrying the doctor, the 15-year-old daughter, her own music compositions, teaching piano lessons?
4. The discussions between the two, the long conversation at the restaurant, re-acquaintance, getting to understand each other, the effect on each of them, the memories? The continuing to meet, to discuss? Seeing Alice, at home, with her husband, friends, discussion about issues in the town, with her daughter?
5. The visit to Matthieu, the sexual encounter and the consequences? Not to meet again?
6. The interlude with the celebration of the marriage, the long interview with the older woman, extraneous in many ways to the action of the story, yet her explanation, her family, age, relationship, love, the celebration of the union?
7. The party, the bird imitators, their performance, entertaining?
8. The music, the dancing?
9. The various stages of ending, Matthieu staying an extra day and the consequences, Alice and her visits, to leave or to stay? The break up of the past, its savage effect, the comparison with the reconciliation and an amicable parting?

LA CHIMERA

Italy, 2023, 130 minutes, Colour.

Josh O’Connor, Carol Duarte, Isabella Rossellini, Alba Rohrwacher, Lou Roy-Lecollinet

Directed by Alice Rohrwacher.

Response to La Chimera may very much depend on mood and frame of mind as we choose to watch it.

The film has had some glowing reviews and Festival awards, with words like “poetic”, “magical”, being used to praise it. So, for the poetic frame of mind, no worries. But for audiences who might subscribe to a more prosaic, realistic frame of mind, perhaps not.

We are in Italy, a remote part of Tuscany, industrial, docks, poorer, dilapidated abandoned railway station, makeshift huts on mountainsides. There is a town, the streets, the cafe, but hard times.

The film was written by Alice Rohrwacher, a director with a strong reputation (Happy as Lazzaro). The star is the British actor, Josh O’Connor (Prince Charles in The Crown, Challengers), and a cast of Italian actors with an enjoyable cameo by Isabella Rossellini as a retired singer, demanding matriarch.

In the plot, while the setting is remote, the source of income is much more remote. It is treasure from buried in Etruscan tombs, with the locals digging them up, fixing and mending, and negotiating with an unseen dealer who markets them to wealthy international collectors.

So what is an Englishman doing in this setting? He is an archaeologist with a gift for divining the buried relics (using a forked branch). But he has lost his love, longing for her, dreams of her, and is returning to the town after serving a prison sentence.

He is taciturn, sombre, going to visit the singer but trying to avoid his ragtag band of past collaborators. But he does go back to divining, is attracted to the singer’s maid – and loosens up a little, but generally, a morose hangdog look.

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There is background drama with the town’s characters, some comic touches (action speeded up at one stage in the character giving her opinion straight to camera). The critics have praised the evocative cinematography, the poetic aspects. And then there is a cameo from veteran actress Alba Rohrwacher (the director’s older sister) in an unexpected character.

There is some excitement towards the end with a significant discovery of a shrine in statue of goddess – and criminal shenanigans and small wheeler- deals.

An unexpected and offbeat drama.

1. The title? The visual images and cards?
2. The Italian setting, Tuscany, the remote town, the docks, the streets, the cafe, the abandoned railway station, ramshackle homes, makeshift huts on the mountains? The contrast with the city, the buildings, business dealings, the yacht on the lake, the option? The musical score, the range of songs and their lyrics illustrating the themes?
3. Critical acclaim, poetic and magical? Festivals and awards? For the poetic imagination? Not for the realist imagination?
4. The introduction to Arthur, in the train, with the young women, his comments, flirting, the salesman and his attack, comment on his smell? The white suit? The dream, his lost love? The mystery of an Englishman in Italy? The mysterious, poetic, dream sequences throughout the film, and the reprise of this same journey and characters later in the film?
5. His arrival in the town, his friends meeting him, his not wanting to join them, is going to Flora’s house, the discussions with her, the lost love and the memories, the symbolism of her face, the son following them, the red thread on the ground and the later snapping of the thread after he sees it in the cave?
6. His going to his makeshift huts, trying to settle back, meeting up with the friends, their work, personalities, the preparation for the Festival, the masks, the town and rejoicing?
7. Arthur, his background, archaeology, his knowledge, the forked branch, trees upturned, the maid seeing them, pulling them out, the signals for the buried relics? upset? But his returning to the divining, finding the tombs, the contents, in the town, the group mending and fixing, the contact with Spartaco, Arthur indebted to Spartaco, going into the city and the office, the financial deals, not seeing Spartaco, meeting with her niece?
8. The character of Italia, her background, her two children, the daughter older, the sleeping boy, concealing them? Wanting to sing? Serving as a maid to Flora? Flora and her household, the various women, their arguments? The visit to the railway station, her leg, the wheelchair? The railway station abandoned?
9. Arthur, the attraction to Italia, going out with her, the Festival, the dancing, on the shore, the the sand above the hidden tombs, the discovery of the grave, her threatening the police,?
10. Arthur and the discovery, in the tunnel, the shrine, the statue, the gifts? To get them out, breaking off the head? The seeming police? Spartaco’s henchmen disguised as police? Their getting the statue, packing it, transferring it to the yacht?
11. Italia, the children, setting up a centre for them in the abandoned station, redecorating it? Her collaborators?
12. The information about the yacht, Spartaco and her niece and explanations, the scenes of the auction, the wealthy clientele, Spartaco as a woman, her dress and style? The group coming to the auction, the intrusion, trying to bargain with Arthur, his mood, exasperation, throwing the head into the sea, the scene of drowning at the bottom of the sea?
13. The consequences for the group? The consequences for Arthur? The presence of the police throughout but their not being able to convict?
14. Arthur, his wanderings, finding the new cave, exploring, the thread and memories of his love?

TRE PIANI/ THREE FLOORS

Italy, 2021, 119 minutes, Colour.

Riccardo Scarmarcio, Eleanor Lietti, Alba Rohrwacher, Adriano Giannini, Margharita Buy, Nanni Moretti, Denise Tantucci, Alessandro Sperduti, Anna Bonaiuto, Polo Graziosi, Stefano dionisis, Teco Celio.

Directed by Nanni Moretti.

Nanni Moretti is one of Italy’s best known and best loved writers and directors. He is a popular favourite, a festival favourite, winning in Cannes in 2002 with his very moving film, The Son’s Room.

Usually Moretti write his own screenplays but here he has adapted an Israeli novel, transferring the action from Jerusalem to Rome.

As with the title, we expect different stories from the different levels of the three floors of the apartment building. While each has a distinctive and dramatic story, there are the linkings.

The initial story focuses on a family, a creative husband, played by Riccardo Scarmacio, a businesslike wife, the young daughter. Both busy, they entrust their young daughter to the neighbours, an elderly man and his wife, the old man suffering from some dementia, but the crisis coming when the little girl goes out with the old man for ice cream and they get lost in the park, he collapsing. The father then becomes obsessed that the old man has assaulted his daughter, coming to hospital and threatening him, totally absorbed and possessed. However, a dramatic turn of events when the granddaughter of the old man comes from Paris, flirts with the husband, is seductive and he succumbs.

In the meantime, there is a young pregnant woman, her husband away, her wanting to get to hospital, almost knocked over by a runaway car, a drunken driver who knocks over the pedestrian and kills her, crashing into the workplace of the initial family. The driver is the son of two prestigious judges who also live in the building, the father, played by Nanni Moretti himself with veteran Margarita Buy as his wife, is stone, unforgiving of his son who brutalises him. The pregnant young woman’s husband is away for work, returning periodically.

The reckless driver, callous and excusing himself, goes to trial, found guilty, imprisoned.

Five years pass.

The driver is to be released from prison, refusing contact with his mother, disappearing. The couple are bringing up their young baby but the mother, often intense because of her husband’s absence, dramatic trouble because of her husband’s fraud dealing brother who comes to stay at the house, but visiting her mother and fearing that she might have mental troubles like her mother.

In the meantime, the husband has been taken to court, prosecuted by the young woman but is found not guilty.

Another five years pass.

The audience has got to know the characters quite well. The daughter has grown up and is good friends with the young woman with whom her father had the relationship. On the other, the initial pregnant mother is pregnant again, but with her husband, but suffering from the mental disturbance that she feared. With the two judges, he dies and his wife gives their goods to charity – and the manager of the charity takes her to see her son, his new life. She goes to the husband of the victim that her son killed trying to make amends and discovers something more positive about her son.

Each of the episodes could have been a film in itself. But, this is an involving Italian drama, complex, raising many social and dramatic issues.

1. The work and career of Nanni Moretti, human and humanistic themes? His original screenplays? Awards? An adaptation here of an Israeli novel, transfer from Israel to Italy?
2. The title, the building, the interiors, stairs and corridors, apartments and interiors? The outside of the building? The street?
3. The different stories, the families, independence, interconnections? The structure of the film, moving from one story to the other?
4. The husband and wife, judges, professionals, the raising of their son, his drinking, driving recklessly, missing the pregnant Monica, running down the old lady, crashing into the basement? His arrest? At home with his parents, his resentments, their high demands, his professional father, expectations, disappointments, the son’s reaction, hitting his father, viciously kicking him? Ousted? His relationship with his mother, having to sake the side of her husband against her son? His angers, character, age, justified resentment, drinking, home arrest, leaving, the trial, his wanting favours from his parents for the trial, sentenced, in jail, not wanting his mother to visit, five years in jail?
5. Monica, on the road, alone, pregnant, looking for a taxi, desperate, the accident, in hospital, the birth, the difficulties, the baby, going home, bonding with the child? Her relationship with her husband, his being away for work, the phone calls? Her loneliness? Her fears about caring for the child? The encounter with the judge, her coming into the house, helping Monica with the baby? The husband returning home? The gift of the pram from his brother, his anger at his brother, condemnations? Taking the pram back, confronting his brother? The comment about Monica nicknamed the widow?
6. Lucio and Sara, their marriage, personalities, love for their daughter, their professional life, leaving their daughter with Renato, his age, touches of senility, playing games with Francesca, her writing his back, the reaction of the parents? The support of his wife? The accident and the crash into the basement? Lucio tense? Sara and her professional work? The need to entrust Francesca to Renato despite themselves? The return, their missing, Lucio and his anger, eruption, over the top, suspicions, the contrast with Sara? The search in the park, finding them, Francesca’s story, her idea for the war, the ice cream, Renato’s collapse? The position? Lucio and his accusations?
7. Renato in the hospital, the reaction of his wife, Lucio coming to the hospital, violent threats? Continue to suspicions? Francesca, at school, lonely, Lucio watching through the window, fostering his suspicions? The contrast with his wife and her commonsense?
8. Charlotte, coming from Paris, concern about her grandfather, the visits to hospital, coming to the apartment, the car, flirting with Lucio, her talk sounding permissive, her approach to him, his resistance, succumbing, the encounter, her lying, the loss of her virginity? His leaving? His being taken to court?
9. Five years passing, the changes, Monica and her relationship with her husband, pregnant again, giving birth? The visit to her mother, her mother’s mental health, her own fears? With Beatrice? The exposure of the brother, his swindles, coming to stay, his approach to Monica, playing with Beatrice, the secret, Monica telling the truth to her husband, his reaction, confrontation?
10. Lucio, the relationship with Sara, the truth, moving out, with Francesca? Her not knowing the truth? In court, the testimonies, Sara supporting him? Charlotte and her presence in court, the accusations, the jury, the decision, her wanting to appeal?
11. The judges, their son getting out of prison, rejecting his mother, his disappearance? The death of the judge?
12. Five more years passing? Lucio Lucio, calmer, his wife, his daughter, Charlotte returning, their being friends, Charlotte and the truth? The effect on his life? And is over anxiety about Renato and Francesca?
13. Monica, wandering away, the children, her husband, her phone call, like her mother, mental condition, institution? The father with his two children?
14. The judge, widow, her decisions about her husband and son, giving away the clothes and possessions, the head of the charity, recognising her, his request, travelling by car, wary, her son, married to the man’s daughter, keeping the bees, his mother going to see him, the continued rejection? The suggestion that he apologise to the man whose wife was killed?
15. The judge, the new dress, change of lifestyle, leaving the apartment, her memories? Going to see the widower, apologising on behalf of her son, the revelation that her son was sending jars of honey as some kind of atonement? Her future, possible reconciliation with her son?
16. A cross-section of Roman life, families, themes of mothers, themes of fathers and daughters, sexuality, sexual encounters, violence? Possibilities for forgiveness and reconciliation?