La chimera

I did enjoy this movie. Josh O'Connor and all of the cast deliver stellar performances. I settled down to watch a slow burn and indeed it is just that, but maybe a little to slow. I found myself hoping something more would happen. Every actor in this movie is wonderful, but towards the last half hour I just wanted it to wrap up. When it finally did wrap up, it was a bit of a damp squib. It was obviously coming and was no surprise. Most of the dialogue is Italian but subtitles don't worry me. Everything about this movie is great and I would not point fingers at the script writers or the actual dialogue. I just had issues with the strength of the actual story line. I think it may become a lost gem. It does not have mass appeal, but that is a trademark of Josh O'Connor; he just does the stuff that he wants and what challenges him. I cannot think of anything I have seen him in that was not brilliant, and this movie is up there, but only for a limited and mainly Italian audience. However, happy it was made. It is original, beautifully cast, thoughtful sets and wardrobe. Thanks.

When an English tomb raider (Josh O'Connor) skilled at dowsing uses his skills to hunt down buried Etruscan artifacts, he achieves success at his craft but suffers setbacks when he falls in with the wrong crowd. As a consequence, he drifts through life, trying to find his way (and, ironically enough, a moral footing), an odyssey filled with quirky people and events, a would-be romantic interest (Carol Duarte) with two carefully concealed children, an aging operatic instructor (Isabella Rossellini) skilled at fleecing her "students," and, of course, his coterie of comical criminal cronies. Writer-director Alice Rohrwacher's latest tells a delightful fable full of wit, whimsy, colorful characters, high intrigue and its share of surreal moments, all set against the Italian landscape. The film admittedly takes a little time to find its stride, so getting through the opening act will require some patience (editing here would have helped). But, once the picture finds its way, it becomes a fun-filled ride, peppered with absurdist humor and filmed with Fellini-esque cinematography and a production design reminiscent of the famed auteur. With a runtime of 2:10:00, it could stand some trimming (most notably at the outset, as noted above), but this cinematic charmer is a modestly pleasant diversion to watch while stretched out on the couch while casually savoring a demitasse of espresso and a plate of biscotti. Godere!

Poetry is the first word that comes to mind when trying to describe that movie. Alice Rorhwacher depicts a world where past and present are interwoven. A forgotten rural Italy, haunted by the remnants of Antiquity. The movie is full of symbols, and the boundaries between past and present, life and death, reality and fantasy are constantly blurred.

The main character, Arthur, is marked by grief, and hides his pain among a band of gentle thieves. All around him, there is misery but also resilience, joy, survival. In this picaresque landscape, Arthur seems to be the only character inhabited by tragedy.

Rorhwacher has the power to evoke emotions that are hard to describe. I left the theater in a contemplative state and I've been thinking about the movie a lot since then. Only good movies can do that.

An intriguing title, clearly "chimera" in the sense of a delusion or fantasy, and maybe specifically the illusion that anything at all can have permanence. Obviously we see that in the tombs of the people who lived thousands of years ago which are now being raided by this motley crew, but we also see it in the main character's relationship with his girlfriend, her mother's crumbling mansion, and the abandoned train station in town. Everything has its day, then fades away.

I have a dim view of those who pillage archaeological sites for personal gain, and probably because of that struggled initially to appreciate this film, but Rohrwacher's gentle, digressive style slowly worked its charms on me. I had been wondering if there would be any limit to what these tomb raiders might do since early on the Etruscan objects they find are relatively "minor," and the moment they discover a breathtaking shrine, creating a moral crisis for the leader, was brilliant. I shuddered when the head of a sculpture was broken off for easier transport. We then find that they're just smaller operators in a chain of corruption that extends from the wealthy to museum curators, calling to mind real-life scandals. The monetization of priceless artifacts feels like an affront in every possible way, and the main character looking down at the goddess's head felt like he was staring into his own soul.

However that's not the final moment of truth, and he comes to another fork in the road of his life, the choice between a new relationship with a woman who is ironically renovating a living space out of ruins, or to continue using his gift for divination to pillage ancient sites despite his growing guilt. Spiritually it's a life or death choice, and we find that literally that's true too. There's something stirring about our all-too-human weakness in the face of the past which looks silently back at us, a reminder that all of our greed and maneuvering is meaningless, one we don't heed.

Arthur, the disheveled former archaeologist turned Etruscan tomb-finder, is a man on a quest. When we first meet him, he is dreaming on a train heading home after being released from prison. Once home, he soon falls in with his old gang of tombaroli (grave-robbers) and they're on the search for treasure in the earth. For the rest of the gang, treasure means loot from Etruscan tombs; Arthur seems to be searching for something else. We get clues to Arthur's search in recurring images of a young woman and her red thread first seen in the opening shots of the film. The woman, we soon learn, is Beniamina, the daughter of Flora and Arthur's beloved. Flora lives in a crumbling palazzo with Italia, her singing student, and a group of women who call Flora mother. Italia is being exploited as a servant by Flora, who believes she is tone-deaf, but Italia in turn is raising two children in the house unbeknownst to Flora. The film juxtaposes these two kinds of groups: the rival groups of tombaroli led by men and the communal groups led by women (Italia forms the second group in a disused railway station), which echoes the remark early in the film that Italy would be much less macho today if the Etruscans had beaten the Romans rather than the other way around.

The film is full of mythic and historical resonances. Arthur is a latter-day Orpheus searching for his Eurydice (the first musical cue is from Monteverdi's Orfeo), but without Orpheus's gift of music. The red thread recalls Ariadne and the labyrinth. Flights of birds (and ominous pigeons) follow Arthur. Italia's first language is Portuguese and her children are of many ethnicities. And so on. In the hands of a lesser director or screenwriter this hybrid creature of different parts (you might call it a chimera) could have been a mess, but here everything seems to cohere and to create a mythic world that resembles our own, but is at an angle to it. That everything clicks into place so precisely and beautifully in the final scene is a tribute to just how tightly this loose-seeming film is constructed. Rarely have the loose threads of a plot been gathered with as much skill or in a more satisfying way.

Many of the photographic tricks (different film stocks, different aspect ratios, scenes undercranked) sound gimmicky, but, except for the undercranking, most are there for people who notice and transparent to those who don't. The cast is uniformly excellent.

For all its playfulness and its conceits, this moving, elegiac film tells the story of a great love and is a great love story.