Displaying items by tag: PierFrancesco Favini

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?

MOGLIE E MARITO/ WIFE AND HUSBAND

Italy, 2017, 95 minutes, Colour.

Pierfrancesco Favini, Kasia Smutniak, Valerio Aprea.

Directed by Simone Godano.

Vice versa comedies have been popular over the decades, mothers and daughters exchanging bodies, fathers and sons, older and younger, but, this time, it is husband and wife.

The style of the film is rather broad comedy, the establishing of the husband absorbed by his scientific investigations, investing all his inherited money in the experiments, working with a collaborator, going to make a device which will be able to record human memories. In the interested parties in exploiting the invention. On the other hand, the wives involved with a television station, the possibility of her becoming an interviewer.

Meanwhile, at home, the various tensions, he very much Owen’s expectations, she very disappointed, but the love for their son. Divorce proceedings.

The key episode is when the husband is experimenting, persuades his wife to sit and make a connection so that they can download each other’s memories. And, of course, this is the beginning of both comic and serious issues, and a lot of farcical comedy.

PF Francesco Fellini has become one of Italy’s top dramatic actors – and, he establishes his match our character and then has to go through the latter part of the film with his wife’s consciousness and her manner transferring to his body and bodily style. And, of course, the contrast with the wife becoming masculine in her manner. On the one hand, is easy for a male actor to become more simpering. On the other hand, there is the challenge for the actress match oh in her behaviour, sitting with legs spread apart, rough, awkward in shoes, even the issue of the monthly period.

Which means all kinds of complications, misunderstandings, the fiasco with interviews at the studio and angry interviewees – but popular with audiences. And, the awkwardness at the laboratory and the dangers of losing the invention. And, of course, the reactions of friends and employers to the strange behaviour.

A variation on the vice versa theme, a bit more unusual and the freaky Friday kinds of stories.

COMANDANTE

Italy, 2023, 121 minutes, Colour.

Perfrancisco Favini, Johan Heldenbergh, Massimiliano Rossi, Silvia D'Smico, Johannes Wirix.

Directed by Eduardo De Angelis.

We don’t see many films about Italian involvement in World War II, especially naval warfare, and, more especially, submarine warfare.

The story is based on actual characters and events, over a couple of weeks in the autumn of 1940. The focus, as the title indicates, is on the submarine, Comandante, Salvatore Todaro, a dedicated man, injured in a training accident and wearing a back brace, devoted to his pregnant wife, a tough but sympathetic commander of his men.

Ultimately, again as the title suggests, the focus of this drama is on the man himself rather than on the details of war although these are important and significant. For this reviewer, the film is the portrait of a humane man, in situations of war, challenge to act in a humane way. Sequences are context for his humanity. However, quite a number of critics and bloggers have complained that there is not enough action in the film, some even suggesting that the focus on the humanity, sentiment, breaks the film down.

For this reviewer, with the focus on the humanity, the portrait is very moving, especially at the end and the final information about the fate of the Comandante.

But, there is quite some action, especially as the submarine tries to get through the straits of Gibraltar, tangles in steel, self-sacrifice to cut the submarine free. There is camaraderie amongst the troops, especially with the Neapolitan cook and his specials and his singing.

The key drama is the submarine’s encounter with a Belgian cargo ship, allegedly neutral, carrying British arms. The Belgian crew are stranded, an appeal to the Comandante, his ethic of doing the right thing means that the Belgians come on board, crowded, two trying to sabotage the submarine, but a greater bonding between the Italians and the Belgians – especially with the offer to make a special Belgian dish and the answer is Fries, something the Italians are wary of, but ultimately enjoy.

The Comandante is played by veteran Italian actor, Pierre Francesco Favini, always  convincing  t inhe wide range of roles he performs.

There is a mention or two of Mussolini and the film offers a reminder of Italy in World War II but also a reminder of humanity and integrity in leadership.

1. World War II story, Italian involvement, submarine warfare in the Atlantic?
2. Based on a true story, Salvatore Todaro, in the Italian Navy, his personality, command of men, leadership in the submarine, decisions, strategies, his relationship with his wife, voice-over messages to her, her pregnancy? His humanity, treatment of prisoners of war? His subsequent history, reputation, premonitions of dying in his sleep, his death, the Belgian sailors visiting his wife and daughter after the war? The credits and thanks to his daughter?
3. The atmosphere of the opening, his ejection into the sea, the drowning experience, rescue, rehabilitation, having to wear the brace, medical advice, the old man and his writing the quote in Greek (its later message and the Belgian translating it)? The scenes with his wife, her pregnancy?
4. Taking command of the submarine, the marching of the men, his premonition about the sailor and the later operation, his relationship with the men, morale speeches to the men, Marcon and the experience sailor, friendship, advice? The younger members, his interactions with them, with the cook, the menus, the reward of the gnocchi, his singing the Neapolitan song?
5. The visualising of the submarine, the exteriors and reconstruction, long tracking shot, the interiors, the cabin, the accommodation, the conning tower, the surface? In comparison with the merchant ship, the British ship?
6. The management of the submarine, in war combat? Comparisons with the Germans? Mentions of Mussolini and fascists? Salvatore and his humanity?
7. The strategies for passing through Gibraltar, going low, the dangers, reverberations? The tangling in the nets? The young sailor, volunteering, going out, the drama of severing the cables, his death, the requiem and the tributes?
8. Out in the Atlantic, the encounter with the Belgian cargo ship, Belgian neutrality, carrying British arms? The attacks on the planes flying over? The attack on the ship? Destroying the ship, the men in the water, the boat?
9. Rules of war, Salvatore and his decisions, Marcon and his opposition, the young Belgian coming on board, able to speak Italian, translate, the discussions? The prospects? The decision not to drown the sailors? Towing the boat? Taking them on board, the squashed accommodation, food, the humane sequence of the Belgian’s explaining how to make fries and the Italians amazed, eating them? The cook? The singing?
10. The two rebels, pulling out the cables, the effect of the Belgians, Ion Salvatore, hitting them? Putting them in the conning tower? The dangers of flooding and death?
11. The British ship, the appeal, the hesitation of the British captain, his deciding to let them go to safety?
12. The progress of the submarine, to the Azores, safety?
13. The final discussions with the Belgian captain, his gratitude, saying he would have all the men if the situation were reversed? The young Belgian, the story, his background, on the submarine, translations, friendship?
14. The aftermath and the sailors visit to the wife and daughter?
15. Some complaints that there was not enough action – but the film more of humanity?

THE LAST NIGHT OF AMORE/ L’ULTIMA NOTTE DI AMORE 

Italy, 2023, 124 minutes, Colour.

PierFrancesco Favini, Linda Caridi, Antonio Gerardi, Francesco Di Leva.

Directed by Andrea DiStefano.

A forceful strong police story.

The setting is Milan, seen during the initial credits, high above the buildings and night lights, a resounding score, setting up a mood. The focus then transfers to Franco Amore, 35 years and honourable police officer, his final night on duty, hurrying to an incident in a freeway tunnel, and the death of his partner. Quite a dramatic opening. But, was the title meant to be tantalising with its choice of Amore for Franco’s surname – it does sound like a title for a drama on sexuality and relationships, but no.

Then the action goes back 10 days, quite a complex story, a story of duty, a story of conscience and decisions.

For a long time, PierFrancesco Favini has been a significant leading man in Italian films. And this performance reinforces his status. He is composing his farewell speech for his colleagues, is in contact with his wife, loving him, but more than a touch flighty and ambitious. He is called by his wife’s cousin, a jewellery dealer, to help with a wealthy Chinese customer in a health crisis.

Franco has never shot anyone during his 35 years, has a solid reputation. However, financial difficulties are ever present, and officers take on side jobs out of hours. The first part of this drama is a job, Franco with his partner picking up some contacts from China at the airport, matters not quite right, a flat tire, police confrontation, shootings… All very dramatic, especially since the film does not use CGI but the sequences were filmed in an actual Milan tunnel, cars speeding past, danger, tension…

The second part of the film is the investigation, Franco confronting the mystery of what has happened, his attempts to find out the truth, betrayals, corruption, covering his own presence, his wife caring for the son of his dead partner, her flighty hopes and fantasies, her wilfulness intruding on the investigation.

While the complications of the action engrossing, it is the portrait of Franco, his hopes for his integrity, the financial situation concerning his pension as he finishes his service, discoveries of betrayal, and moral issues concerning the truth that are at the core.  The film draws to a dignified ending, Franco confronting those who need to be confronted, but ending his career of duty with a message of appreciation to his colleagues. But, of course, the consequences are still open, the audience left to ponder what decisions they would make.

1. The title? Franco Amor a and his police service, final night? The drama, challenged? The play on words on his surname?
2. The Milan settings, the opening, the night, the aerial views of the city, prolonged, the dramatic music? The Cathedral, its recurring presence? Homes, police precincts, clubs, business centres, the streets, the freeways, the tunnel? The musical score?
3. The initial atmosphere, Franco, the tunnel, the accident, the friend did, his reaction?
4. Going back 10 days, the dramatic buildup to the situation, the complexities of the shooting, Franco leaving, alibi, returning, investigation, revelation of corruption, his final night, his broadcast to the police? His future?
5. Franco as a character, 35 years in the police force, not fully promoted, never shooting, his reputation, interactions with his colleagues? The retirement, the pension, financial difficulties? Relationship with his wife, her personality, ambitions, pressure on him, hopes for the retirement? The moral issue of the job, the diamonds, her pressure? His friend, jobs out of hours, the decision to partner him at the airport? The consequences? His relationship with Cosimo, his wife’s cousin, call to help with the ailing Chinese? The consequences and working with the Chinese?
6. The atmosphere of the police precinct, the officer in charge, attitude towards Franco, police investigations?
7. Cosimo, the link with the Chinese, jewels and diamonds? Franco’s audience with the head, his son-in-law, sinister, ambitious? The old man’s gratitude? The job, the delivery of the diamonds, meeting at the airport, driving the carrier? The discussion with Dino, his son, Franco’s wife looking after him, Dino and his motivations?
8. The situation, the airport, the carrier, the bodyguard, sinister and silent, no weapons? The drive, the tension, the flat tire, continuing to drive, stopping, the arrival of the police, the interrogations, the treatment? The gun, the shootings, Dino’s death, the bodyguard’s death? The carrier, escaping, with the diamonds, her being killed? Franco, taking the diamonds, throwing them onto the freeway? His leaving the situation?
9. The tension, Franco’s alibi, going for the run, the Farewell party, his wife’s attitude, his phone call, getting her to collaborate, her pressure about taking the diamonds, driving to the scene, with Dino’s son, her demands, getting through, going to find the diamonds, the torch, her finding them? Getting away?
10. The chief, the phone calls, summoning Franco, his arriving at the scene, his covering that he had not been there, Philip police, the phone, the suspicious calls, the suspicious officer and his reputation for corruption, the death of the police who attended the scene, the death of the woman, the presumption that there would be no shooting because of Franco’s reputation?
11. The setup, the Chinese boss and his reaction, summoning the meeting, his son-in-law, Franco denouncing him, Franco and his statement that he would keep the diamonds, to support Dino’s son…?
12. The final night, on the streets, the searching, the visit to the Chinese, on duty, the final broadcast and the acclaim from fellow officers?
13. Franco standing, looking forward, his future?