Invasão de Domicílio

Gosh. Here's a film that not only went directly to video, but horror of horrors, it was directly to Blockbuster.

And yet it is precisely in the center of one of the six nodes of film perfection. Its that place where cinematic qualities recede and theatrical drama of the Chekov variety is delivered: should in conflict; souls in pain; souls striving toward some sort of tentative peace, knowing that each balance is forged personally.

Now that Mangella has died, taken from us early, I appreciate him. He made a commercial excrescence in "Cold Mountain," but there are elements of his other films that show a delicate soul behind the noise. Here he is himself, directing something he has conceived, and brought into the world.

Its a marvel of tension. He has two mothers, each struggling alone with "special" children. Two children who are addicted to gymnastic life beyond what is healthy and reasonable. Tow enterprises to clean the city, one using trees, the other sensitive policing.

Two themes of ethnic cleansing.

In other words, two haunting worlds that swirl around our focus, the one who draws, creates models, makes photos on a MacBook. This character is played by Jude Law. He's not who I would have chosen to play this man who manages four balancing acts, all connected to each other. I just don't think he is an interesting enough soul to speak to us about these sorts of things. He's basically a child himself in these matters.

It almost doesn't matter, because Mangella fills in the void with cinematic ambiguities. There are deleted scenes on this DVD that should, really absolutely have been in the final cut. Why they were not baffles me. Would it lessen the commercial value of the thing? One involves a coworker, a women apparently worth exploring, who Law's character considers. That he backs off makes his subsequent leap all the more forceful.

The two women here are played by real actresses. By this I mean that they not only know how to show us what their souls contain, but they have souls worth visiting when (temporarily) so shaped.

Binoche may be our most real woman, here moving between a woman and all women. Shes a blessing/ I feel blessed to have known her this way, and blessed that Mingella made the introduction and engagement such.

I think you should see this. Its his real legacy.

Ted's Evaluation -- 3 of 3: Worth watching.

The unexpected coming to alter what is already our daily routine. Doing something for one specific purpose without realizing that we are being lead by fate , I presume, to an existential cul-de-sac. This is the stuff that fairy tales are made off, also great drama, great comedy and all the natural ingredients of what is laughingly known as our daily existence. This is Minghella's most moving film to date - and that is saying something. His obsession with darkness hidden in his characters hearts is as universal a theme as unrequited love. Minghella loves his characters and the darker they are, the stronger the love. I didn't love Jude Law this much since Mr. Ripley and Juliette Binoche is heart breaking. Brilliant. I sat in silence after the film was over. Tears running down my face. It hadn't happened to me in many many years.

How does one choose a film to view? Often it is the subject matter - here the fraught relationship between landscape architect Will and both his partner of 10 years Liv (who has an autistic daughter) and his new lover Amira (who has a thieving son). Sometimes it is star - in the case, Jude Law who has to choose between his American partner who has an obsessive approach to parenthood (Robin Wright Penn) and his Bosnian refugee girlfriend who works as a seamstress (Juliette Binoche). Other times it is the director - on this occasion, Anthony Minghella who writes as well as directs as he returns to the north London milieu in which he located "Truly, Madly, Deeply".

All of these are reasonable reasons for wanting to see "Breaking and Entering", but I confess that it was the supporting French actress Juliette Binoche that drew me to the work. I've been in love with her ever since her first English-language appearance in "The Unbearable Lightness Of Being" in 1988. She is simply beautiful in a bewitching manner, while always convincing as an actress, especially in vulnerable roles.

This is a multi-layered work in which the title can be taken in three ways: the obvious sense with the robberies perpetrated by Amira's son Miro; the deeper sense with Will's emotional assault on Amira; and still another sense as the middle-class Will and his like invade the traditionally working-class area of Kings Cross.

Those who need car chases or special effects in their movie experiences should avoid Mighella's parable, but those who value thoughtful and nuanced works will find much to admire here.

Tenderness is contagious. Looking for love and ways to give it? Are movies more to you than entertainment? Without dreams, ambition and inspiration, life is harder than it has to be. Who says only the very young are hungry for knowledge. This good movie has taught me something about foreign relations, love and families, crime and punishment, truth, imagination, diligence, experience...the list goes on. And the commentary by Minghella -a bonus offered in the DVD features- is simply a joy. See the movie, enjoy the collaborative efforts of several true artists and then learn a bit about what it all meant to this successful writer/director. Or just see it because it's entertaining.

Will Francis (Jude Law) opens a new architecture office in the transitioning London neighborhood Kings Cross. He and his girlfriend Liv (Robin Wright Penn) are growing distant and her autistic daughter Bea is one of the reasons. Meanwhile Amira (Juliette Binoche) is worried about her son Miro (Rafi Gavron) slipping into criminal activity. They're from Bosnia and his father was killed during the war. Miro is teamed up with his cousin Zoran (Ed Westwick) in the family crime business. They break into Will's office to steal computers. Miro steals the valuable miniatures for his own artistic work and is given Will's personal computer as a reward. They rob the place a second time and Will's partner Sandy (Martin Freeman) almost runs into them. Detective Bruno Fella (Ray Winstone) investigates. Will and Sandy decide to stake out their own offices and encounter prostitute Oana (Vera Farmiga) working in the area. One night, Will catches Miro and follows him all the way home. Instead of directing the cops to the thieve, he starts a relationship with his mother.

This is written and directed by Anthony Minghella. I have no specific problems with the directions. It is all about the writing. It is overloaded with class warfare melodrama. Everybody has their own dramas. There is just too much. That's not to say there is nothing worthwhile. Binoche is amazing in this. If this is a simple movie about her and her son, this could be an award worthy performance. Again there are so many characters who each have their own drama. Minghella could easily cut out Sandy and Oana. Quite frankly, I couldn't care less about Will and his family drama either. The complicated melodrama is simply too complicated.