Shanduraï

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.

It's refreshing to have a film that has no special effects, does not have to deliver every word, tell you every step of the plot -- the plot line is implied. It is by showing what is happening and letting us the audience connect the frames.

This film "L'assedio" (The Siege) is more visually expressed vs. through articulating dialog. We are presented with scenes, imageries, expressions, wide or high angle shots through perceptive conscious editing. I especially noted the repeats of the beautiful shadow pattern of the spiral railing leafy design -- 'besieged' in a rather elegant environment (perhaps evident to the audience more than to the central character herself). The besiegement is not exactly physical, it is more of the internal emotional dilemma and struggles our heroine feels. We are shown the various artistic collections and beauty of things around the house as we follow her housekeeping routines. She could very well be too wrapped up in her own world (pursuing her medical studies, preparing for exams, and her flashbacks/dreams of homeland events in Africa) and opened herself not to the other person or what's really around her.

The opening sequence is actually a critical flashback for our heroine Shandurai, portrayed by Thandie Newton (w-d John Duigan's "Flirting" 1989; Jonathan Demme's "Beloved" 1998 with Oprah Winfrey). David Thewlis (w-d Mike Leigh's "Naked" 1993; Jean-Jacque Annaud's "Seven Years in Tibet" 1997 as Brad Pitt's adventurous companion) is Mr. Kinsky, the other part of the quotient in this fable like story that Bertolucci interweaved. Shandurai was from Africa and is now a medical student in Rome, staying at Mr. Kinsky's house where she does daily housekeeping chores in exchange for her own room and board.

There is also a "beseeching" undertone to this tale. He (Mr. Kinsky) the solitary composer/pianist in want of her love. She (Shadurai) the solitary soul 'exiled' from home (Africa) in want of the freedom of her loved one. Trust -- a human dilemma? How do you trust a stranger? Does the person really listen to you? Does s/he hear what you're saying?

Trust in another person, a total stranger, is not easy to come by. Society has made it a norm that you have to earn it -- trust. If you say something or make a request, you don't really expect it to come true. That the other person actually listened and took it to heart and do something about it to make a wish happen is only in dreams! Well, whole-hearted loving is possible and we should not take things for granted.

There are no extraneous frames here. Visual and sound (the music, the piano pieces) are both purposefully fulfilling in unraveling the story. Thewlis delivered a superb subtle performance. Newton followed up her "Beloved" role with equal concentration. Bertolucci weaved his magic once again. What a statement -- what a story he has given us! A beautiful film. A fable, indeed.

The wonderful photography (cinematography by Fabio Cianchetti), especially the use of cast shadows reminded me of the silent B/W German classics by Robert Wiene, "The Cabinet of Dr. Caligari" 1919, in which shadows were used thematically in repeated graphic forms -- very effective filmmaking.

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.

After the first few minutes I knew I could just relax and enjoy this film -- that it would be well-acted, subtle, visually appealing and well-edited. Bertolucci presents an engaging variation of a love triangle with his characteristic sensitivity and attention to detail.

How wonderful to see a film in which the range of human emotions is revealed by acting instead of with clumsy or forced dialogue. We see his hand linger on her dress draped over a chair in her vacant room, her evolving and conflicting attraction and doubts shown in her gestures and expressions -- nothing overstated, much left to the imagination.

The musical score (Chopin, Coltrane, Keita and others) is in itself totally enjoyable as it binds together the images and themes of this fine film. Bertolucci's editing is superb. The film's climax and ending are, well, perfect.

Nine out of ten, maybe more -- I'll be seeing it again soon.