La corrispondenza

What do you need in order to create a movie in the inverted order from the usual story line: the one that starts with the line "From death do us part" and ends with the line "They lived happily ever after"?

The answer is simple: You need a mastermind like Giuseppe Tornatore. A mind capable of inventing such interesting story, told through inspirational dialogues and intriguing plot.

The final product entitled "The Correspondence" is equally impressive as an independent piece of art, as well as a juxtaposing part of Tornatore's previous movie "The Best Offer". The beauty of comparing his recent films (written in English) lies in the opportunity to grasp the big picture. Both movies revolve around couples and involve prototypical males (rational yet highly emotional, thus men in touch with their feminine side) and prototypical females (fragile yet strong, thus women in touch with their masculine side). Both have impressive cast for the role of the men (Jeremy Irons / Geoffrey Rush) and expressive cast for the role of the women (Olga Kurylenko /Sylvia Hoeks). "The Best Offer" deals with the mysterious appearance of the female character, while "The Correspondence" seals the deal with the mysterious disappearance of the male character. The first speaks about losing oneself when finding the significant other, while the second movie speaks about finding oneself while losing the significant other.

Indeed, the theme of loss is ever-present in each frame and pixel of "The Correspondence". Someone might wonder if something so void and devoid of any words, something as ineffable as loss could ever be explained through words? It can and it ought to be, since the communication is the purest form of connection between a man and a woman, a marriage of their ideas, an ideal in itself, an open door to the deepest human connection. As long as we perceive the words spoken outside of our heads (in the books, songs or mouths of other people) as coded messages from the loved one, and as long we use all words existing inside of our heads as messages for our loved one, there will be connection. As such, the words are symbol of focus, of attention, and constant (re)invention of the significant other. Their presence signifies life, their absence – death (even in a symbolic manner) of the other.

Within this movie, the characters use words to reach to one another, somewhere, anywhere. With this movie the director uses words, to hopefully reach toward each one of us, everywhere. With this review, I use words, maybe also to reach to someone, somewhere, out there…

Biljana Gjoneska www.evermind.me

As compare to his former, exceptionally great, movies like Cinema Paradiso, The Legend of 1900, Malena, Sttano Tutti Bene(Everbodys Fine), Baaria, The Best Offer and The Unknown Women, his Correspondence is somewhat left me in depsair. His direction skills are peerless with impulse of emotions and feeling in most of his movies with touch of comedy. Correspondence is what i will call not a movie of Guissepe.

A deep love relationship develops itself between Ed Phoerum, a professor and astronomer and Amy Ryan, a young student and movie actress, despite the fact that not only she is much younger than him but also they are apart and at some distance from each other, seldom meeting physically. But he sends her videos with passionate messages. He suffers a sudden death (he was very ill) which does not impede their relationship going ahead like if he was still alive because he had a plan consisting of having written many messages to her and made some videos that without her knowledge he has given to people he knew with the charge of giving them to her at periodic dates coinciding with some important events of her life . This combines her anguish with the pleasure she has on reading his messages (in letter form) and watching his videos and led her to look for those people to get information and take the letters and videos. A quite strange story but well told, directed, acted and filmed.

La Corrispondenza (2016) : Giuseppe Tornatore has earned a good fame in International cinema with Cinema Paradiso (1988) and since then his movies are always gaining attention.Love is the key element is his movies which is shown in different ways and views.The Correspondence is such love story which has bit twisty plot.

Plot: Amy Ryan (Olga Kurylenko),a student and stunt woman and Ed Phoerum (Jeremy Irons),a renowned astrophysicist have affair for 6 years.When Ed goes out of town,both of them keep in touch by text and video chats.But shockingly Amy hears the news that Ed died 2 days back due to cancer.But still she receives messages and gifts under the name of Ed.She never feels lonely since then but still surprised about the mysterious messages and gifts.How did she cope with her life and how is Ed texting and sending gifts even after his death forms rest of the story..

Plus Points:

1)Plot: Though this plot resembles 1997 Korean movie The Letters which is remade in Hollywood as P.S.I Love You where a heartbroken girl receives messages or letters from their deceased love.Correspondence also has same plot but with new backdrop.

2)Music: Music by Enno Moricone is decent and gave the right mood at right place.

3)Performances: Both the lead actors performance is decent.

Minus Points:

1)Screenplay: Screenplay is the major drawback for this film.With such talented cast and crew,Giuseppe wasted with such boring screenplay.Except the initial 20 Min's,rest of the movie starts getting lagged with every scene.

2)Duration: With 2hr duration, this movie seems boring after 30 Min's. into the movie.

So, La Corrispondenza is a wasted potential with dragging screenplay.

My rating 5.5/10

Years and years ago, Pier Paolo Pasolini would have solved this 116 minutes film with one sentence: "Death does not mean a lack of communication; it is the impossibility of being understood."

And while this concept (twisted, distorted, disfigured) still remains interesting enough, Tornatore's prolix (plain redundant right there in the middle) writing swings between borderline creepy and full-on cheesy.

Among the tear-jerking treacle, his pseudo-philosophical, re-adjusted to the contingency, take on astronomy -- dead stars and all -- is accurate and poetic enough, and really the only element (almost) giving the movie an appearance of tightness, thickness and consistency in its back and forth, back and forth rhythm.