My House in Umbria

The HBO TV movie "My House in Umbria" should be seen primarily for the complex and layered performance of divine Maggie Smith. As romance novelist Emily Delahunty, she projects an image of refinement and elegance that conceals a deeper, darker self. That self is revealed slowly, and we find hidden within a character that is not only at variance with Miss Delahunty's adopted persona, but also very different from the prim and proper ladies Maggie Smith habitually plays on the silver screen. We see that Miss Smith is capable even of being seductive and slatternly, most unlike her many repressed and spinsterish roles.

Maggie Smith has the kind of mesmerizing voice and marvelous diction that would enable her to entertain film audiences by reading the proverbial telephone book. I am reminded of Glenda Jackson's (virtual) one-woman show in "Stevie" and Joanne Woodward's voice-over of "The Age of Innocence".

The rest of the characters in "My House in Umbria" are, alas, a motley crew, sketched in only very lightly, merely second bananas to Maggie Smith's central figure. The time of the story is difficult to pin down based on the clothes and motor cars, but one imagines it takes place during the 1970s, the era of the Bader-Meinhof gang in Germany and the Red Brigades in Italy. The denouement is a little too pat, but the journey is still well worth our while.

One of the key questions raised in the film is what anger would drive a human being to commit an act of terror. But it becomes quickly apparent that political terrorism is not the only kind of "man's inhumanity to man" that is intended here. The focus is, rather, on innocence shattered and destroyed, the cruelty visited by individuals upon each other, the sense of guilt that it engenders, and the possibility of forgiveness and redemption that always, always exists if we "seize the day" and allow ourselves to be happy.

A tragedy leaves five people scarred. To heal, one of the survivors invites the others to her home in the Umbrian hills. As she says, to let the beauty of Umbria be a healing balm.

Umbria is one of the stars of the film, yet with a deft hand the director and cinematographer weave its physical beauty to complement the unfolding drama of the film.

Maggie Smith delivers a stunning performance. Her character is a flawed woman who escapes into an alcoholic haze and dreamweaving to explore her soul and the souls of those around her. Ever curious, she delves into places she should not, but always with kind and good intentions.

Chris Cooper plays a persnickety scientist with understated excellence. His facial expressions are magnificent, his words economical, his performance strong.

Ronnie Barker plays a retired English military with aplomb. Beno Furmann delivers a low-key performance, his eyes and his face reflecting guilt and pain. Timothy Spall plays an Irishman with a rare sweetness. A young American girl, Emmy Clarke, plays the film's lynchpin, Aimee, with simple perfection. And Giancarlo Giannini adds a deft touch.

This is a delightful film. There is no glitz, no whiz-bang action. It is a study of the human soul, of the human capacity to deal with pain, to cope, and to survive. The acting ranges from the good to the wonderful, and it is a fabulous example of film-making.

The movie was wonderful. 'My House in Umbria' was like a fresh breath of Italian countryside air, or taking a bite into a delicious pie in a terrace in Italy. The sites were breathtaking, even if they were seen from my television. The story was understandable and intriguing. The characters were fun. Mrs. Delahunty, a romantic novelist, with her numerous names and vibrant personality; i found myself wanting to be like her - minus the excessive drinking and smoking. There were also the many friends she had made on a train which had been in an accident. These strangers put together in Mrs.Delahunty's villa. Werner, the general, and Aimee (a young face who was very captivating on screen), and Quinty. All these characters truly made the film. BUT the only stain in the wonderful fabric that is this movie was Chris Cooper's character, Mr. Tom River-something. I found him rather pompus but a necessary element in the movie. I can't find more words to describe the movie. The scenes of Italian cities and towns were wonderful. oh, and mrs.delahunty's thoughts were well illustrated on screen. All in all i truly liked the movie. I think this movie will delight many people.

This film would immediately appeal to anyone addicted to Maggie Smith and the idyllic Italian countryside of Umbria, but it has unexpected delights to offer in its unassuming, almost art-house, flavour, and the low-key, but affecting, performances of excellent actors Timothy Spall and Ronnie Barker. Chris Cooper is rather wooden, but his academic, unemotional character casts a strong contrast to the hapless vagaries of Maggie Smith's Emily Delahuntey, and therefore works well.

Suspension of disbelief is required for the over-imaginative plot, almost out of one of Emily's romance novels. But the pleasure of such a film is simple, and simple pleasures can entertain as much as the richer, more complex enjoyment of films it might be compared with such as 'Tea With Mussolini' (which, of course, is a much fuller film in terms of plot, characters, script, and drama). 'Enchanted April' also comes to mind as another film where the Italian countryside is almost a character of the film and much more than a backdrop.

A very pleasant interlude for a winter's afternoon, or Spring evening, and Maggie Smith is as mannered and original as ever. I especially loved her flowing clothes, which suited her and her character very well.

Seeing Maggie Smith's character start the day with a wee glass of grappa and end her day with another is not exactly what we have come to expect from this marvelous actor but these twists in William Trevor's novella are precisely what the viewer is presented with throughout this wonderful film. My statement is in no way meant to denigrate the scrip-it simply is a signpost indicating the varied paths that the viewer follows as the film progresses.

The visual beauty of the film is taken for granted because of its magical setting-it's just the many little detours taken by the characters during the course of the unfolding drama that kept this poor viewer from anticipating the unfolding script changes. I saw a film I didn't quite expect to see because the early publicity seemed to gloss over these script changes. However, the resulting movie was better and more interesting than any I could have predicted-in part due to the remarkable acting of the cast.

Maggie's character is the mover of the film and all events revolve around her. Her character is strangely ambivalent in that she at first sight is this straight laced woman who appears to do everything "properly" but as the film unfolds she shows many more aspects to her role. For me it was similar to watching an onion being peeled and I found each underlying layer more interesting than the previous. Chris Cooper's character was also intrigued by this unfolding but he didn't find what he saw as interesting as I did.

Try to watch this lovely, interesting film-you can spend your time in a theater in far worse ways.