Le conseguenze dell'amore

There are movies that are just a different version of another one, not remakes, but just similar to others, it is not. Although it talks about Mafia it is watched in another way and often it seems just a secondary theme. I went to watch that movie for case (because the otherone's theatre was full) and I was satisfied at the end. It surprised me, because of its black irony or cynicism and there are more and more interesting items to analyze. It doesn't follow the classical ways of movies, it is just different and I think not to be the only one to like that. I am very happy also because it is Italian, and I was afraid that Italian directors and producers were not enough brave to change themes. In this movie you can watch new Italian style as well, but is not blocked into clichés. I hope to be understandable enough, I know it is difficult, I hope also that this movie can be exported out of our frontiers, it is a good product to export. I want to point out also the music, very good soundtrack, the movie needs it because of its long silent pause and they are covered perfectly by that music. Many compliments to the director, and thank you, cinema needs these movies.

I saw this the week it opened four years ago and I really did not know what to expect being unfamiliar with Sorrentino's work at the time. He has created a very intriguing and ultimately moving account of an odd character, one for whom the phrase 'life is for living' no longer applies. It outwitted me at every turn and I was constantly surprised by the story. I enjoyed the pacing very much and the way I was gradually given the pieces to work out what was happening. Tony Servillo is superb, as is Magnani. It opens with a brilliantly stylish wide shot and concludes with a very moving image that takes the movie into sublime territory. I thought long afterwards about the main character and the position he was in and his final fate and I didn't shake it for weeks. I recently bought the film and that final scene where he thinks about his friend gets me every time. I still have yet to talk to anyone who has seen this. It's a shame that it did not reach a wider audience as if this is the direction of Italian cinema it can only be a good thing.

I saw this interesting film back to back with the Chinese/French film "2046" at the recent Dubai Film festival. Both were intelligent works made the same year (2004/2005). Both had the main characters living in a "hotel". In both films, the hotel is more a metaphor of exile than a location. Both dealt with love between a man and a woman. Both had wonderful music and riveting performances. What a coincidence and yet how the two films differ in treatment of the subject!

Somewhere at the beginning of the film, a man walking on a pavement turns to look at a woman and in doing so hits a lamp post. The audience erupts into a volcano of laughter innocently. But isn't that brief shot the synopsis of the film, that entertains you for 2 hours? While the film is a wonderful blend of black comedy (e.g., using a stethoscope to listen to a neighbor's conversation in the adjoining hotel room), the film builds on what Buster Keaton and Jacques Tati had introduced to cinema earlier--stoic faces that leads to comedy quite in contrast to the equally intelligent world of Robin Williams or the heartwarming Danny Kaye. A sudden frenzy of activity transforms an otherwise stoic character while moving money from the hotel to the bank is reminiscent of Tati's works.

But the film is not mere comedy. The anti-automation statement (cash counting and the reaction of the bank staff to the statements relating to it, the dummy that acts as an ineffectual warning to the speeding lady, the reference to "Moulimix" as the fictitious "company" he works for, etc.) are several cues that the director is offering a loaded comedy to the viewer. Laugh, yes, but reflect on it and enjoy further..

The movie's strength lies in is brief, staccato script (by director Paul Sorrentino) that offers comedy that is mixed with philosophy ("Truth is boring," "Dad is dead, but nobody told him," "Bad luck does not exist--it is the invention of the losers and the poor". Then the director goes on to provide you with a fascinating lecture from the main character on insomniacs. You will not sleep through this lecture.

Sorrentino provides entertainment pegged to the subject the Italians know best--the Mafia. It is an existential mafia film.

There is a loaded philosophical sequence where a young girl, sitting opposite the lead character Titta Di Girolamo, reads aloud a passage from a book: "Whatever he wants can happen. What a fine mess. That is the advantage of using memories to excite oneself. You can own memories, you can buy even more beautiful ones. But life is more complicated, human life especially so, a frightening, desperate adventure. Compared to this life of formal perfectionism, cocaine is nothing but a stationmaster's pastime. Let us return to Sophie.. We become poetic as we admire her being, beautiful and reckless, the rhythm of her life flowed from different springs than ours. Ours can only creep along, envious. This force of happiness both exciting and sweet, that animated her, disturbed us. It unsettled us in an enchanting way, but it unsettled us nevertheless. That's the word." The reaction of Titta to the passage is interesting. Titta is himself a cocaine addict. Titta looks at the barmaid of the hotel-his own "formal perfectionism." The following sequence is of Titta calling his own wife and daughter on the phone--a conversation filled more with silence than words. They, too, are Titta's "memories." The final sequence of the film is of Tittas' best friend Dino Guiffre working alone repairing a fault on an electricity pylon in biting wind in a snowy landscape--recalling his own best friend Titta. This is a film about friendship that transcends the mafia.

Since "Truth is boring", the director provides a dessert as part of the fine meal of superb acting (Toni Servillo), good music, clever camera-work (Luca Bigazzi), a beautiful, enigmatic actress (Magnani, grand-daughter of the great, immortal beauty Anna Magnani) and powerful script. The dessert is for the viewer to figure out the truthful feelings of Titta, towards his family members, towards his hotel guests, towards the bar girl, towards the mafia, towards the bankers, towards the hotel owner, and towards his best friend Dino. (Assuming that the viewer accepts the eventuality of how Titta recovered his suitcase from the goons, how does he get inside his car and get it covered with its synthetic cover while he is still inside it?) Perhaps it is Sorrentino's admitted love for the literary works of Louis- Ferdinand Céline that has sculpted the character of Titta. The film's end will remain an enigmatic one for a reflective viewer.

The opening shot is hypnotic, drawing you in. Into a world of strangeness and solemnity. A deep, Italian baritone-voiced narrator making the invite ever more enticing. Then:

A middle-aged gentleman just sits in the hotel lounge, looking intelligent and distant, distinguished but also downright arrogant and rude. He never speaks to staff, or other guests, even, despite having been in residence for ten years.

He does something, without fail every Wednesday - and a couple more things the same day, once a year.

The sort of gentleman one could chance upon in any hotel, pretty well anywhere in the world. A poker-face of nothingness, smoking his life away, his concentration on his inner world only broken by the burned out cigarette stub. The excellent acting of Toni Servillo, coupled with the sublime direction of Paolo Sorrentino, employing a Kubrick style of slo-steadicam, with an ever sense of steady dread.

Always compelling rather than propelling, the story unfolds with Servillo's character, Titta, as he leads this strictly regimented life until confronted by the stunning Sofia, the barmaid. She looks at him straight in his eye and states that she's made his bed, served him this and that, had always been polite and courteous for the three years she's worked there. And he's never had the decency to utter a single word to her.

Instead of being nice back or even saying anything at all, we're aware that a flicker of something human has sparked within him. But, as the very title states, this lowering of his guard could very well be his downfall.

What does, however inflame this film and raises it even higher are the occasional flurries of activity. Titta hardly does anything more than almost nothing (driving one block, or looking around - not buying, though - a shopping mall) is accompanied by very loud punk rock music. This is unsettling - is this a dream he's having? Does he yearn for the fast life? Are the people he meets from a past, productive life? Do the characters he encounters then have any relevance to him - and to his situation now? The scenes look very real; the mood and ambiance are definitely not.

Moving on into the realms of more conventional crime drama, but still with a cool unease and an almost Memento meditative pace, the whole reveals lives and opportunities lost. Of redemptive longing and knowing one's own fate. This is an intelligent film that refuses to retread a potentially familiar path.

If in the U.K, BBC4 shows it again, wrap yourself inside it, be enveloped by it. You'll want to watch all of it, not that you know why but you'll be glad that you did. It's only 90mins. I've seen The Consequences... four times now, and I never tire of it. The ending will have you quietly shocked and amazed, too.

The consequences of love: There is really something special about this film but it's very hard to put your finger on. It is a love story of sorts but not really one i've seen before. It has several love themes running throughout the film. One mans love for a younger woman, a younger mans love for his older brother, the mafias love of money at all costs these are just some that intertwine in a story that has you guessing or rather not knowing where and how it will end. The cast are all superb from Sophia the teasing barmaid to the straight faced-ness of titta the films central character. With simple yet affective camera work bounced off an ever-changing soundtrack that mixes low-fi trip hop with lush orchestral pieces. The style of the film changes beautifully using several styles without ever getting cluttered. Love has never looked so diverse and powerful as the tales we are told rumble towards various conclusions. The director has married old and new into a rich Italian classic.