Nachtsonne

Leo Tolstoy's story was adapted with great style by Vittorio and Paolo Tviani, with the help of Tonino Guerra, an excellent writer on his own, and a man that has been connected with wonderful movies in his native Italy. This is a story told by the Tavianis with extreme care in magnificent locations in their usual way that pays a lot of attention to detail and the beauty of the Italian landscape. The musical score by Nicola Piovani, one of their usual collaborators, contribute to make the film a joy when we listen to the atmospheric music. Cinematographer Giuseppe Lanci captures with precision the gorgeous scenery around L'Aquila and the region into images that leave the viewer breathless.

The story is a strange one. When Sergio, the young man from humble origins, gets the attention of Charles III of Naples attention, he doesn't even suspect of the deceit he is made a part of. The beautiful Cristina reveals a secret that will be pivotal in Sergio's life. In horror, he flees that glamorous life at the court and becomes a priest. He wants to be no ordinary priest, he wants to go to a remote area to become a monk.

It's at that location that he is discovered because of having performed a miracle. The solitude he is seeking intrudes in his life and the final blow arrives in the form of a disturbed young woman who has more than a cure in mind. The noble Sergio decides to go back to the world he left behind because he realizes he can't stay in a place where is no longer where he wants to be.

Julian Sands is perfect as Sergio the mystical man. Natassja Kinski plays Cristina. Charlotte Gainsbourg makes a great appearance as the disturbed Matilda. Patricia Millaret, Margarita Lozano, and the rest of the crew make the film a joy to watch.

The Taviani brothers should be seen more often because their films are always so beautifully crafted and leave their grateful fans awaiting eagerly for the next film.

This is a beautiful, profound movie. It is based on a novel by Dostoievsky, which ads an existential dimension to the craft of the Taviani brothers.

The struggle of the lead character to extract himself from all human attachments is fascinating - and his ultimate failure should give some thoughts to a lot of self-proclaimed spiritual schools, from the Vatican to the Dalai Lama.

While this is a history piece, this movie retains the neo-realism style of some other works like "Padre, Padrone" mixed with a touch of surrealism as in "Kaos".

The Taviani brothers at their very best. One can only wish they had remained so inspired!

Beautiful, spiritual and thought provoking film about a heart-broken man who decides to seclude himself in a mountain. I consider it the best by the directors. It might make you think of how the "miracle" is conceived in our mind from witnessing a super-human power of will, and how the legend of a saint may arise.

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.

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.