Nachtsonne

(1990) Night Sun/ Il sole anche di notte (In Italian with English subtitles) PERIOD PIECE DRAMA/ SEMI AUTO BIOGRAPHY

Gorgeous country side with story adapted from the book "The Sun Also Shines at Night" by Leo Tolstory, written and directed by Paolo Taviani and Vittorio Taviani, centering on an ordinary soldier, Sergio Giuramondo (Julian Sands) to a life of monastery living as a hermit, and his effect on other people- almost like a semi-auto biography. Requires patient viewing with a subtle story line, and interesting historical Italian references, topping it off with gorgeous picturesque countryside.

This was a good film and I enjoyed watching it. However, I also understand that while I could sit through the film, many others would be bored by both its slow pacing and the lack of emotional range from the characters. Julian Sands portrays this emotionally limited man and he seemed to do a good job with it--but people wanting action and excitement in their films will probably have a hard time sticking with the film.

So on the plus side were the acting, cinematography and musical score. One the negative side was the ambiguous plot. The exact motivations for Sands' character and the point the author (Tolstoy) is trying to make seem a little vague.

Overall, a decent film and worth seeing, though there are of course some better Italian films.

PS--in the original Tolstoy version, does it REALLY take place in Italy or was the setting Russia? I am curious to know.

As I have tried to express my deep love for Taviani films before, I will not start that again. But boy is this film a marvel !!

Overwhelming photography, getting wider and wider where the protagonist tries to get further away from each and everyone. To find the temptation which will finally get him down from his pedestal (= his pride) in the renovated shack that was once his hermit cell.

The story is gripping and a true marvel, the pace elaborate (NOT slow, definitely not slow !!) and thoughtful.

And the actors ! What performances !! Where to start ? With Julian Sands of course, who is glorious even when he is not allowed to use his own voice. And the women in his life !! Just like that other bearded miracle worker, Father Sergio has 4. A mother and 3 ladies. (but then I'd forget his sister, and that would be very ungrateful...) Superb performances by all of them, and each and every other cast member.

Let's pray for another miracle: Let's sincerely hope Maestro Paolo and Maestro Vittorio make some dozen more of their sublime storytelling films...

The full body of the Taviani brothers is fascinating and I have only seen 10 of their 22 feature films. "Night Sun" is a fine adaptation of Leo Tolstoy's short story "Father Sergius."

At least four films have adapted the tale on screen: twice by Russian directors, once in 1917 (a silent film) and then by Igor Talankin in 1978; a French film in 1945; and finally, the Italian film by the celebrated Taviani brothers "Il Sole Anche de Notte," (Night Sun) in 1990.

The Taviani brothers' version with Julian Sands in the principal role is very close to the original tale, even though it replaces Russian locations with Italian ones and the modes of worship of the Russian Orthodox church with the Roman Catholic one. What is worth connecting, however, are the end of the Italian film version and the disappearance of actor Julian Sands 2 months ago.

The contributions of actresses Nastassia Kinski and Charlotte Gainsbourg, although small, make an impact. So also the contribution of the famed screenplaywriter Tonino Guerra with the Taviani brothers. Limited to two films--"Night Sun" and "Kaos"--both remarkable works of the Taviani brothers.

The Night Sun is the story of a proud, honest and sensitive man who struggles in the world some centuries ago. His writhings relate to the mismatch between the indifference of people to one another and his ideals of compassion and intimacy, between the world's requirement of submission and debasement and a pride which accepts no tyranny.

Sergio Giuramondo searches for meaning in isolation, but is only bored and obstreperous, the blithe landscape, perhaps as metaphysical as physical, re-echoes the monotone of indifference he has encountered elsewhere, rutting scarabs in the bright sunshine suggest soulless lust in a world without God. Neither is hope or meaning to be found in the exalted echelons of the nobility.

The movie seems ambivalent, has Giuramondo, a talented brilliant man been offered his fill of the cup of life, and dashed it to the floor, his own worst enemy, a man at war with himself, or does he find contentment and meaning, and a route to a life beyond this veil, a white chalk path out of the green hills of life's wilderness.

In either case, the Tavianis created here a movie that lingers, a baffling pageant interspersed with longueurs, as it their wont and stamp.