L'assedio

Promising med student Thandie Newton (BELOVED, who is still not afraid to pee and slobber on camera) cleans Italian villa of eccentric English piano teacher (David Thewlis, THE BIG LEBOWSKI) after fleeing dictatorial takeover in her native Africa, her school teacher husband imprisoned. After a series of awkward encounters, the two warm to each other, their musics blend, and expensive objects are sold for a reason. Selections by Mozart, Scriabin, Bach, and a fascinating J.C. Ojwang, who functions as an agitating one-man chorus during the first half. Those who came to this for Bertolucci because of a vague memory of LAST TANGO IN PARIS (1973) and for Newton because she is black will get to see fine acting, great camera work and scenery, real Africans, the streets of Rome, and to hear excellent piano playing by Stefano Arnaldi, and, hopefully, not be disappointed that they weren't force-fed any scenes with chickens or homies gettin' shot up in the 'hood to a gangsta rap soundtrack.

We have a glimpse of Shandurai's environment in a central African nation where the ruthless military politics take over and screw up her life. Welcome to Bertolucci territory you may think? Not so, we keep clear of the politics and arrive in Italy where Shandurai finds refuge as a maid cleaning a neglected household run by an eccentric lay-about British piano player. Now you may think we have the wrong film! Yes, it is a Bertolucci movie without the Tango In Paris. This is simple Bertolucci at his best. It's about conquering unwanted love the old fashion way, dealt with a sense of mystery and plenty of patience. All the imagery elements fall into place as we journey with Shandurai and her decision. Effective in every way right through to the performances of Newton and Thewlis. A very pleasing film on the senses thanks to Bertolucci who has ventured into the basic fundamentals of low budget cinema.

During the first twenty minutes or so of `Besieged,' directed by Bernardo Bertolucci, there is virtually no dialogue, at least nothing even remotely conversational; and yet the first half hour of the film is almost hypnotically riveting, and by that point you already know more about the two main characters than if they'd had pages worth of words to say. And it's all done with the subtle, controlled emoting of the actors, guided by a director with a keen eye for detail, who knows exactly what he wants, how to get it and how to present it.

This emotionally involving film stars Thandie Newton as Shandurai, a young woman forced to leave South Africa for Rome after her husband, a school teacher, is arrested by the Military Police, then summarily held in prison-- and without a trial-- indefinitely (His crime is never precisely indicated, though it is implied during a classroom scene at the very beginning of the film). In Rome, Shandurai attends medical school, while supporting herself by working as a housekeeper for a man named Mr. Kinsky (David Thewlis), a reclusive pianist, apparently fairly well-to-do, who gives piano lessons to children in his home.

Early on in the film it is evident that Mr. Kinsky looks upon Shandurai as something more than merely a housekeeper; he is obviously quite taken with her. The moral implications of the situation are readily apparent, of course, as is the position in which it will predictably place Shandurai at some point in the near future. There is little doubt as to the direction the story is taking; the question that remains, however, is how Shandurai will deal with her impending dilemma.

The story becomes even more engaging as matters are pressed and circumstances develop which make Shandurai's conundrum even more of a moral miasma. Bertolucci draws his audience in by creating a situation so emotionally complex that at times it fairly resonates on the screen. And rather than allowing it to become simply a test of love and loyalty, he takes it much deeper-- so that the real impact of the film stems from the respective stances taken by Shandurai and Mr. Kinsky, as they strive to resolve their personal feelings while attempting to satisfactorily breach this seemingly insurmountable situation. Bertolucci draws a delicate line on which he balances the emotions, actions and reactions of his characters, which pays off handsomely in the end.

The overall success of the film, however, is predicated upon on thing-- that being the performances of Newton and Thewlis; and both deliver, unequivocally. Newton's role is especially challenging, as she has to convey so much through her emotions alone. Her gestures, expressions and mannerisms are her words; and the slightest alteration of any of these-- the slightest arch of an eyebrow, a shifting of the eyes at a particular moment or a barely discernible movement of her lips-- speaks volumes. And for this to be effective, it had to come from a place deep within; mere surface theatrics or any hint of pretentiousness at any time would have dispelled the believability of the character at once-- and Newton not only prevails, but does so overwhelmingly. It's an extremely well realized portrayal of a woman in conflict, facing one of the greatest trials of her life.

Thewlis, as well, gives a resoundingly sympathetic performance as Mr. Kinsky, that would have to be ranked among the best work he's ever done. As with Newton's role, he must convey so much physically, and he does-- turning in a very sensitive, well defined performance through which he employs just the right amount of reserve and restraint as befits the character he is creating. It's an affecting, honest portrayal that makes Mr. Kinsky very real and believable.

The supporting cast includes Claudio Santamaria, John C. Ojwang, Massimo De Rossi, Cyril Nri, Paul Osul and Veronica Lazar. Artistically rendered and subtle in nuance, `Besieged' explores the parameters of love and measures the limits of the boundaries expressed by the heart. An insightful treatise on human nature, it removes one emotional layer after another, right up to the very end-- which is a moment of truth nothing less than sublime. And one that will keep this film in your memory long after the screen has gone dark. I rate this one 8/10.

Take everything you ever knew about Hollywood and filmdom and flush it. Open you mind and your heart and, if you're lucky, "Besieged" will speak to you of love like no other. Make no mistake, this film is not about romance or sex or even closeness. It is about what love should be; pure, unsolicited, unencumbered giving. It is a sad testament to the shallowness of popular concepts of giving-to-get love that this film received lukewarm reviews, one star from Ebert, and a mere 6.5 by IMDB.com users. Sometimes the only way to love someone is to set them free.

I thought this was an extraordinarily beautiful film. The care and complexity of the cinematography was truly breathtaking. The acting was superb as well. I couldn't help feeling, though, that the emotion at the core (Kinsky's "love" of Shandurai) was more an evocation of an older man's (Bertolucci's) fantasy world of women. I found the emotional exploitation of Shandurai unpardonable. Here is a woman who has lost everything, and then gives up her respect and dignity because her employer gets her husband out of jail (the image of her sneaking into his bed, giving herself to him like a servant was belittling). I would have found the film truly bittersweet and empowering had Kinsky sacrificed so much and gained nothing.