Displaying items by tag: Margharita Buy

IO C’E/ JUST BELIEVE

Italy, 2018, 100 minutes, Colour.

Eduardo Leo, Margherita Buy, Giuseppe Battiston, Giuulia Nicolini, Franco Pinelli.

Directed by Alessandro Aronadio.

A very Italian comedy/drama. Audiences from outside Italy may be observing rather than identifying.

The theme is religion, organised religion. There are some sequences here that seem to be very supportive of traditional, organised religion, especially in the wise advice given to the central character by a sympathetic priest (counterbalanced by some satiric portraits of very aggressive traditionalist nuns). And the references to the history of Christianity, Islam, Buddhism, Hinduism.

But, the film is also satiric and critical of organised religion, its hold over people, some of the more eccentric expressions of faith and belief, exploitations by charlatans, legal loopholes and profits.

At the centre is a middle-aged man, Massimo, Eduardo Leo, who has travelled, not really settled down, has the bright idea to set up a religion, make a profit and avoid taxes. He employs the help and advice of his sister, Adriana, Margherita Buy. He has connections with quite a number of eccentric characters, especially a large author of a book which is never to be read, but who is trying to build up a following. In fact, working with Massimo, he achieves many of his life’s ambitions.

Massimo makes many tentative steps toward setting up his religion, finding accommodation, attracting a whole lot of street people, encouraging them, actually helping them, their responding well, calling his religion Ionosmo, and translated in the subtitles as Selfism. On the one hand there is positive value in the lives of those whom Massimo is advising to think of themselves as God, being true to themselves, that kind of inner freedom and for their actions. On the other hand, there are overtones of cult and exploitation.

There is a complication when one of the member dies and leaves property to Massimo and the church. And there are scenes of discussions and the final acceptance by the Italian government of his church with its legal and financial rights.

But, the development of the screenplay has Massimo beginning to be overwhelmed, doubting, giving speeches to his followers to say that his initial motives were fraudulent, that he does not believe what he says – which only confirms them in their faith and devotion to him.

And the Italian title? Massimo uses it to indicate the way that he can be described as his own God.

Definitely a curiosity item, Italian culture and society, religious issues.

RIPLEY

US, 2023, 8X 56 minutes, black-and-white.

Andrew Scott, Dakota Fanning, Johnny Flynn, Margharita Buy, Kenneth Lonergan, Elliot Sumner, Maurizio Lombardi, Bokeem Woodbine, John Malkovich, Fisher Stevens.

Directed by Stephen Zaillian.

Tom Ripley is the literary creation by crime novel writer, Patricia Highsmith. Over the decades, he has had many incarnations, Alain Delon in the 1960s, Purple Noon, Dennis Hopper in the 1970s, The American Friend, strikingly in 2000, Matt Damon in The Talented Mr Ripley, John Malkovich in Ripley’s game, 2002. (Wikipedia indicates quite a number of other films, especially from the 1950s to the 1970s.)

This time he is played by Irish actor, Andrew Scott, completely convincing. And this time Dicky Greenleaf is played by Johnny Flynn and Marge by Dakota Fanning. There is a strong supporting cast of British, American and, especially, Italian actors.

It is a television series of eight episodes. This gives the screenplay enough time to offer sequences plenty of time to develop, sometimes giving the impression of events happening in real time.

But, one of the key assets for the film is its black-and-white photography, often described by reviewers and bloggers as “pristine” (clean and fresh as if new; spotless). Comments cannot do justice to the clarity of the black-and-white, some of the cities of Italy enhanced by the quality of the photography.

Tom Ripley is a conman. Tom Ripley is also a psychopath, not just a sociopath who can smile and charm but is self-absorbed, but is also criminally insane, and unscrupulous murderer. Every actor who plays Ripley has to be persuasive with charm but yet able to show the in the madness, the unscrupulous narcissism.

Ripley has offered the opportunity to go to Italy by wealthy American businessman, played by playwright Kenneth Lonergan, to persuade his son Dicky to come back to the US. Ripley takes the money, visits Dicky, sees the lifestyle, enviously and vicariously starts to live it, overcoming any suspicions by Dicky, but not by Marge. Which leads them to Ripley is murdering Dicky, covering the murder shrewdly, Tom becoming Dicky in the comfortable life in Rome, then in Venice. And, he is always one step ahead though there are many close calls.

The screenplay for this series has been written by veteran writer-director, Steven Zaillian, celebrated writer of many significant films from Schindler’s List, Gangs of New York, the Irishman.

1. The work of Patricia Highsmith? The different versions of her Ripley stories?
2. Ripley, a conman, psychopath, his success, an amoral character?
3. The previous versions and comparisons? The value of the television series, eight episodes?
4. The decision to film in black and white, the striking photography, “pristine”? Of the locations, towns, the beach, Naples, Rome, San Remo, Palermo, Venice? The musical score?
5. The pacing with eight episodes, some action in real time, the strong attention to detail for developing the plot?
6. The casting, Andrew Scott embodying Ripley?
7. The introduction, New York City, the petty conman, his character, seeing him in action, the summons by Herbert Greenleaf, his wife, business interests, the proposal about his son? Ripley being tracked down by the private detective, the conversation? Explanations of Richard Greenleaf, Dickie and his leaving, settling in Italy? Ripley accepting the mission, the money, the travel to Italy?
8. The town, Atrani, life there, the coast, Dickie, his age, lifestyle, wealth, relationship with his parents, alienation, dabbling in art? His relationship with Marge? Her writing a book? Her devotion to him? He to her? Is reading the manuscript and giving suggestions, her response? Ambiguous attitudes towards Tom?
9. Tom, his arrival, ingratiating himself, his schemes, revelation of the truth about his mission, bonding with Dickie, not with Marge? Freddie and his visit, Tom’s dislike? The invitation to Cortina and its consequences? The lifestyle in the town, Tom, emulating Dickie, caught wearing his clothes and Dickie’s off-hand response?
10. Tom writing to Herbert Greenleaf, money issues? The father and his letters, dismissing Tom, urging Dickie to be suspicious? The decision to go to San Remo, hiring the boat, Tom, calm, waiting for the moment, malevolent, killing Dickie, taking his ring, all the effort to come to shore, the body overboard, the rocks on the boat? The later recovery, the police investigations, the reports in the media?
11. The details of Tom’s life, in the town, the various characters, learning Italian, the banks? The train rides? The hotels and reception? The feel of Italy in 1961?
12. Tom, his skills at evading detection, going back to the town, Dickie’s clothes, typewriter? The smuggler and the previous proposition to smuggle, selling the boat? American Express in Rome? Tom becoming Dickie, his clothes, manner? Settling in Rome, expensive hotels?
13. The various letters, the importance of the typewriter and its flawed letter e, Freddy’s visit, Tom and his coping, levels, the plan to kill him, the alcohol, the blood on the floor, taking the body, the elevator and its not working, dragging him down the steps, in the street, the car and his working out which one, holding him up, the witness walking his dog and the later visit to the police? The details of the drive, repeated several times, the via Appia, the taxi drivers, going back to retrieve the passport, his settling back at the apartment? Cleaning the blood? The importance of the landlady, her kindness to him, showing him the apartment, her receiving the police?
14. Inspector Ravini, the visits, Tom and his calm during the interviews, the blood on the path? Marge, the visit, his meeting her in the cafe, her telling Ravini and his not believing her?
15. The character of Ravini, the interviews, Tom on the edge, Max and his relationship with Freddie, wanting to meet Dickie? The media reports, suspicions on Tom? On the newspaper, the visualising of the articles, the pressure? Then on Dickie? The finding of the boat, the bank fraud and Tom fixing the signatures? The various phone calls from the bankers? Tom cashing the money? Getting the permission to go to Palermo
16. The twist, Tom and the media and photos in Palermo, moving hotel? The decision to leave, the false clue about Tunis?
17. Tom, in Venice, alive, revealing the visiting, Marge and her visit? The art world and the dealer? Marge intruding? Herbert Greenleaf arriving, the dangers, exposure, the private detective and his arrival, accusing Tom? The further discussions, speculation, the forged letters, the money to the landlady, the ring, the assumption that Dickie had killed himself?
18. Tom, the art dealer, the Picasso, getting a new name and passport?
19. Marge, publishing the book, the irony of Ravini seeing the photo of the actual Dickie?