Io sono l'amore

The ever-versatile Tilda Swinton stars as a Russian-born Italian in Luca Guadagnino's film 'I am Love', which is beautifully filmed, well-observed and acted with a nice sense of understatement. Yet this tale of a wealthy family suffers somewhat from the basic irrelevance of its drama. Being happy is a challenge for everyone, even for the rich, but a story where the characters are essentially free to choose their own lives can feel slight, and although part of the point here is that the individuals concerned are prisoners of their own privilege, the point is made without any satirical venom - the tears of the servant, crying over the departure of her mistress at the end of the film, are shown without irony. Although there are details to enjoy here, I found it hard to sympathise with any of the characters over any of the others. It's not a bad film, but a social dimension to match its emotional one might have added to its impact.

I'm truly baffled. Not so much by the movie itself – the plot ambles along with excruciating predictability. No, what mystifies me is my friend's and reviewer's fervent reaction to "I Am Love". I just don't get it. Apart from some beautiful photography, and perfectly adequate performances, what exactly does this film offer? The characters are cold and unengaging; their motivation obscure. The "erotic" moments are so clichéd they look like parodies. The heart and soul of the film seem to be completely missing.

Really. I was amazed. You see, I'm such a sucker for emotional engagement with characters – I'll laugh, cry, hate, fear, cheer and philosophise along with pretty much any film I watch. I'm a producers dream.

But this? It washes over you and you sit (admiring the view) in the hope and expectation that something is going to happen soon. Something will surprise you. A character will suddenly come to life – reach out and draw you in. That you'll get a golden moment, or even a whiff of cinematic soul. But no. Nothing.

So – there it is. There's either something vital that I'm missing here or this emperor is indeed stark naked? I Am Disappointed.

I was amused and entertained. Taken, very taken by how seriously it takes itself but I don't mean that in an patronizing way. For those people the subject treated is of paramount importance. The past and the future mingling in a world where profit commands. The young son, a stunning, Flavio Parenti, is the one attached to the old traditions. A rich capitalist with a socialist sensibility. Tilda Swinton runs the gamut of emotions and she does it beautifully. Details are terribly important here and, I must confess, I thought of Visconti, specially because Violante Visconte di Modrone is part of the cast. Who is Mr Guadagnino, the director? Where does he come from? He seems incredibly sure of himself. Costumes, interiors, landscapes are a visual feast. The score is also a very bold touch. Marisa Berenson (Barry Lyndon) and Gabriele Ferzzetti (L'Avventura) are added pleasures to this unexpected, if sometimes irritating, treat.

During the past decade, Tilda Swinton has proved herself to be a very adept actress. I've never heard of Luca Guadagnino, but their collaboration "Io sono l'amore" ("I Am Love" in English) presents an interesting and slightly chilling look at a wealthy Italian family.

The focus is the fictional Recchi clan in Milan, and Emma (Swinton) is a Russian woman who married into the family and pretty much turned her back on her Slavic identity. Her husband Tancredi (Pippo Delbono) is the son of industrialist Edoardo (Gabrielle Ferzetti), for whom a party is thrown where he announces that he is handing the business to his son.

By this point, it starts to become apparent that Emma's life feels incomplete. Maybe it's the weirdness of a life where one is always surrounded by extended family and getting waited on hand and foot - and how the extended family seems determined to organize all relationships - or maybe it's the surprise at learning of her daughter Elisabetta's (Alba Rohrwacher) lesbianism. But when Emma's son Edoardo Jr. (Flavio Parenti) introduces her to chef Antonio (Edoardo Gabriellini), who prepared the cake, this begins a new chapter in Emma's life.

Throughout the movie, it seemed that the food acted as a metaphor: Emma was starting to taste a whole side of her existence about which she'd never known. Maybe the food and other visuals were a little overstated throughout the movie, but I think that the end result was a good one. To be certain, there was a scene in the movie that made me feel as though I'd just stopped breathing - you'll know it when you see it - and I think that what Emma does at the end is the only thing that she could have done. I recommend the movie.

PS: Marisa Berenson, who plays Allegra, previously starred in "Death in Venice" and "Cabaret". She is the sister of actress Berry Berenson, who married "Psycho" star Anthony Perkins and was in one of the planes that crashed into the World Trade Center on September 11, 2001.

I can't describe the power of this film, and I can't stop thinking about it either. There's a negative review on here that says to go see MICHAEL CLAYTON instead and not to waste your time. Well, if a movie about plot, overly drawn characters and artifice, all shot by the book, is what you're looking for, then yes... this probably isn't the movie for you.

But if you like people more than stories. If you want to see film-making at its most graceful and organic and inventive, if you want a musical score that will turn a sidelong glance into an operatic overture, then this IS the movie for you. It is a baroque masterwork. A cathedral of a film. Cold as stone but inspiring the soul.

Tilda Swinton is a goddess. She says so little, but communicates so much. There's an entire ocean of emotion inside or her, spilling out of her eyes. I cried twice at this film. Once because of the subject matter and then again at the delicacy of the film-making. Don't let people with conservative tastes and conventional ideas of film and story tell you not to go see this movie. They are robbing you of experiencing pure emotive cinema.