Bread and Tulips

This film is a journey of discovery and self-awareness, a story about life and love and finding the true happiness that comes from sharing it all `with' someone, rather than merely settling for sharing `in' someone else's. Mostly, though, `Bread and Tulips,' directed by Silvio Soldini, is about finding the kind of love that enfolds you, lifts you up and boldly takes you with it, in place of the kind that simply allows you to catch hold and follow along. It's about possibilities; of realizing the fulfillment of the promise instead of forever existing in the shadow of the potential, of recognizing what can be and embracing it once it's found-- a consideration that love in the purest sense does exist, and often in the least likely of places. It's just a matter of opening the heart, and finding it.

Rosalba Barletta (Licia Maglietta) is content with her life, or so it would seem; she's a housewife with two sons-- aged sixteen and eighteen-- and a husband, Mimmo (Antonio Catania), who sells bathroom fixtures. Her contentment, though, is perhaps due to the fact that she's never considered the possibility of anything being otherwise. But that changes when, while on vacation with the family, she is inadvertently left behind at a stop. She watches the tour bus pull away and suddenly realizes that her husband and boys haven't even missed her.

She decides to hitchhike home, but on the way, she decides to take a vacation of her own first. One of her rides is headed to Venice, a city to which she has never been but always wanted to go, and so she makes that her destination. And her vacation soon becomes more than that; it becomes an experience that opens up a whole new perspective on life to her, an adventure that reawakens her senses and fills her with an appreciation of life and what love really is. There is bad with the good, however, as it also makes her a woman torn between her old life with the family she loves but who take her for granted, and a new life, in which real love and personal fulfillment is possible. Whatever she decides, one thing is certain: This is one vacation Rosalba is never going to forget.

Director Soldini has crafted and delivered an engaging and thoroughly involving and thoughtful film that grabs hold of the viewer and sweeps you along with it. It's funny, romantic and poignant, with a pure joy for life at it's heart; a romantic film in every sense of the word. Soldini tells Rosalba's story in a way that makes you more than a mere observer, but one who is sharing her life and all that she is feeling. Rosalba is someone you care about, and it's because Soldini has taken great care in attempting to establish that necessary connection between his character and the audience-- and he succeeds. He sets a perfect pace, in that Rosalba's growth and awareness is gradual, the product of subtle exploration rather than epiphany, which makes all that transpires entirely credible. And in the same way, it serves the credibility of the other characters, as well. It's a very grounded presentation that gives the sense of everything happening in real time; Soldini never allows the story to get ahead of itself, and that's part of the bond he's created that allows the audience to keep living it rather than just watching.

The insightful screenplay by Soldini and Doriana Leondeff makes for an engaging film to begin with, but without question, what really sells it is the wonderful performance by Licia Maglietta as Rosalba. Honest and earthy, her portrayal is entirely convincing and believable; she opens up her character and lets you in, where you discover an inner beauty that is vibrant and endearing. And you realize how much Rosalba has to give, and how much she wants to give-- and it's a touching experience; this is a woman who receives by giving, and it's gratifying to encounter that kind of charity of soul, and moreover, to see it rewarded in kind. Most importantly, Maglietta's performance inspires a greater understanding of the human condition; by experiencing the rewards of discovering who Rosalba really is, one may be inclined thereafter to look deeper into others, to reflect upon the nature of those perhaps taken for granted for too long. And the fact that such an impact can be made through a character in a film attests to the talent and ability of Maglietta, who-- something of a cross between Sophia Loren and Giulietta Masina-- has an absorbing screen presence, and plays Rosalba so beautifully.

Bruno Ganz also gives a memorable performance as Fernando Girasoli, the man who befriends Rosalba in Venice. His portrayal is so subtle and understated, and so giving, in that he allows the focus to remain on Rosalba at all times, that the full impact of his character kind of sneaks up on you. The initial meeting between Rosalba and Fernando is so indifferent that he at first appears to be nothing more than a peripheral character in the drama. And it demonstrates how wonderfully Soldini and his actors have integrated the characters with the story to make it play out in such real terms. It's an affecting performance by Ganz, who sparks an unlikely chemistry with Maglietta that works so well on the screen.

Also turning in performances worthy of mention are Marina Massironi, as Rosalba's friend, Grazia, the holistic beautician/masseuse; and Giuseppe Battiston, as Costantino, the hapless plumber/detective.

The supporting cast includes Felice Andreasi (Fermo), Tiziano Cucchiarelli (Nic), Matteo Febo (Salvo), Tatiana Lepore (Adele) and Vitalba Andrea (Ketty). Highly entertaining and thoroughly involving on a very personal level, `Bread and Tulips' is a film that provides an unforgettable emotional experience; one that promotes a deeper understanding of human nature by allowing you to get outside of yourself, which ultimately affords a fresh perspective on life and the way we live it. 9/10.

Bread and Tulips (2000)

A feel good movie that is also a good movie. It's beyond just warm and colorful, with scenes of Venice night and day, and beyond just triumphant, with true love winning in more ways than one. It is most of all populated with great characters. Italian leading lady Licia Maglietta is a wonder of naturalistic acting. She is sympathetic of course, but not a cliché. She plays a housewife on a diversion away from her family, and she looks and acts like a housewife. As strong as she is, and as independent, she is also devoted to her family. The fact she left them at all is perfectly unfolded as an accident that she turns into an opportunity, all by intuition.

The man she meets is no paradigm of handsome or charming, in fact he's just the opposite. But he is so inherently good, a really decent human being, she comes to like him, and look out for him. Played by Swiss actor Bruno Ganz, he matches Maglietta's believable ease and imperfect, quiet intensity. The rest of the cast is truly supportive, and tips just slightly (or more than slightly in one case) into caricature, to reminds us, I suppose, that this is a movie, a fantasy, a comedy in many ways.

But it's also a deeply serious and moving love story between two middle-aged people who are ready for renewal.

I have a feeling many people, especially people with families or those conservative at heart, will find the basic premise of a woman leaving her family in a glib and almost carefree way and not going back for a long time to be shameful or even sinful. Her kids are normal distracted teenagers who like her when they notice her, her husband is a hardworking and loud businessman who doesn't beat her, her home is her own and comfortable. In other words, she has a really normal life, a good one by most measures. Does everyone have the right to up and leave a working family relationship because they feel a bit restless? Is this movie a worship of selfishness?

Or is it a reminder that life is short and you have to get to what really matters, and be with people who are truly wonderful and good, no matter what?

I can't think of a more joyous way to ask the question.

This is an enjoyable little Italian/Swiss production, that mostly gets carried by its characters.

The movie is sweet, little and innocent. In other words, perfect harmless entertainment. The movie feels warm and sincere, this is due to the setting of the movie (Venice) and its characters, that are all far from perfect but because of that also very humane and in this case also enjoyably quirky at times.

The movie is mostly comical with its characters. They are over-the-top but at the same time kept humane. It helps to make the movie an enjoyable one to watch and at the same time also keeps sure that the emotions of the movie feel real.

The movie features a nice story in which a married mother escapes her normal everyday life after she has been forgotten during a vacation by the tour bus. She decides to take advantage of the situation by hitchhiking to Venic, the city she always wanted to visit. perhaps for the first time ever in her life she feels herself alive and home somewhere, where she really can be herself. She decides to stay for a day but the day soon becomes days and the days weeks.

For a change the movie centrally features a love-story between 2 persons at age and not persons who are still in the prime of their life and are in their early 20's, or something. It's refreshing, dramatic more powerful and involving and in a way also sweeter.

Licia Maglietta is a good leading lady for the movie. and she forms a good couple with Bruno Ganz, who is halve Swiss, halve Italian and by far has the best lines of the movie, that almost sound poetic like. The rest of the supporting actors are mainly for the fun but everyone does a good job at portraying them.

The movie is however not the best made and constructed one. At times they simply choose not to show some of the dramatic responses and just cut away and goes forward in time or back to another location. In my opinion this is a sign of weakness of the film-maker's skills and it's also definitely due to the editing that the movie does not work out at all times.

Nevertheless, you should be able to appreciate and enjoy watching this movie.

7/10

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What I appreciated most in Bread And Tulips (English title), is the subtlety of the humor.

There are some truly wonderful comedic small touches here, such as when the plumbing 'detective' is confronted at gunpoint by Ganz's very linguistically eloquent character, and fails to understand him. There are some very funny lines. But it's not a gutbuster. It's more subtle than that.

A most human drama. Characters are drawn from real life, given just enough idiosyncrasy to make them interesting, not abstractions. I thought it was as gender fair as any movie I've seen : both the women and men are equally shown as flawed, ignorant, sinister, mean, or noble and generous without making the case for one sex being preponderantly more prone to such failings or graces than the other gender.

It is directed with a nurturing gentleness reflective of a female director . . .although the director is a man and the co-writer a woman. The story's protagonist is a woman whose heart has been relegated to second-class by all the self-serving males who surround her. . . her intimacy sacrificed. A woman can understand another woman in this conflict more naturally than men usually can which makes the director's accomplishment all the more remarkable.

If you're up for a romantic movie comedically driven but full of pathos, look no further. I recommend this movie heartily.

Wish there were more movies this well done. . . .

A sweet movie that pretends to be anchored in reality. When bored housewife Rosalba is "forgotten" during a trip, on a highway petrol station, she decides to go wild for one day and hitches a ride to Venice.

Once in Venice, Rosalba is fascinated by the city and by a way of life that is not merely utilitarian but also spiritually fulfilling. The flower shop where she finds a job is a first example of beauty as necessary to the soul.

Rosalba brings a bunch of flowers home every evening, to Fernando, the enigmatic waiter that rents her a room. She finds an accordion and remembers how much she loved playing. She strikes up immediate friendship with Grazia, the beautician next door. Most of all, her life is not anymore just being a servant to her unfaithful husband and selfish grown-up sons.

To avoid making the plot too dreamy, Rosalba lives in realistic surroundings: Fernando's apartment is messy and located in a cheap area, the Venice shown is not the luxury facade and Rosalba undergoes only a minimal physical transformation. Yet, it looks like she turned from shabby and vulgar middle-aged woman into a shiny, ageless creature just because of her happiness and a cheap yet feminine dress.