Baarìa - A Porta do Vento

A red carpet event of major proportions. First time in 20 years that an Italian film opens the prestigious Venice Film Festival. The expectations were palpable. The film, as far as I'm concerned, a very personal 30 million dollar artsy rehash of a lot of common places. In a way the two and a half hours seemed to me the promotional teaser of a movie we have yet to see. In fact it looks and feels like a long, long trailer. Naturally, Tornatore knows how to steer sentiments and has a vivid commercial eye that survives in spite of the artistic aspirations. There are a couple of wonderful moments and it's a treat to see dozens of Italian stars making very brief cameos in a beautiful reconstructed city. The question is, after the emotional soirée, this morning it took me well after breakfast to remember the actual movie and I suspect that is because "Baaria" is too much and not enough at the same time. What come back to me at this very moment, trying to remember the epic is the wonderful face of Lina Sastri. So, Tornatore and his major collaborator Ennio Morricone are heading back to Oscar land. I wish them luck

The film was received last night with an ovation. I was there in the audience, applauding. What a beautiful looking film! That was last night, today I found myself in difficulty trying to describe what I had seen. Where to start? With a kid running? Or, with Giuseppe Tornatore himself, a skillful craftsman with too much power? I suppose Tornatore is what I've carried with me from the experience. He tried to give us a "1900" but just hinting at the highs and lows with pretty pictures and Ennio Morricone. More Zeffirelli than Visconti. More Richard Attenborough than Bernardo Bertolucci. We in Italy need to see one of our most successful directors as an artist, as a man of culture. That's a trap an inhuman trap. The superficiality of "Baaria" is disguised by alluding to great themes with heavy "artistic" moments, dream like, magic realism, slow motion, but at the end of the day the superficiality shows up. Some of my favorite films appear superficial when in reality they are not. But I get terribly impatient when the opposite is true. I don't want to be negative towards this effort and I'm sure it will find a large audience all over the world I just don't want it to be presented to me like the serious work of a great artist because it's not. I loved Tornatore's "A Pure Formality" and the first part of "Cinema Paradiso" From "Baaria" I loved the beautiful faces of the two new comers in the leading roles and most of the score. I found the brief appearances by famous Italian actors entertaining but distracting. Perhaps that was the intention. Now, all said and done I will urge you to see it and make up your own mind.

Giuseppe Tornatore, the director of Cinema Paradiso (1989), one of the greatest films ever made, has made Baaria, a 150-minute long drama that spans more than six decades in the life of the film's lead character, Peppino Torrenuova. Based on memories of the Sicilian village the Italian director was born into, Baaria is an autobiography of sorts that documents the lives of people who have been affected by social and political revolutions of the last century, and as seen through the eyes of the Torrenuova family.

Shot in Italy and Tunisia in which a full set of a Sicilian village was built from scratch, Baaria is visually captivating. Tornatore creates a feeling of "vibrant nostalgia" by having most of the scenes drenched in bright yellow as if memories of the past have been lighted up by a powerful flashlight. The film may be attractive to look at, but the lack of emotional power undermines the filmmaker's attempt to recreate Cinema Paradiso all over again.

The most glaring flaw of Baaria that limits its emotional power is the uninspired editing rendered. It is ironic that even with such a long running time, the film has inadequate character development. The editing is such that the film is broken up into about twenty sequences of similar length and is merged together through the fade out-fade in technique. Thus, it is like watching a slideshow of beautiful images.

The film is coherent enough for the average viewer to comprehend, but the narrative that drives the core of the film remains inhibited, as if it is involuntarily hiding behind the image. And when the narrative seems to pick up steam in some parts, and things get quite interesting, Tornatore breaks it all apart again. And again. It is quite frustrating on the viewer to say the least.

Ennio Morricone once again creates a beautiful score that is slow and mournful. It is, however, let down by the film's lack of interest in connecting with the viewer. Interestingly, Baaria is a film in which the sum is more than the parts that add up to it. The last fifteen minutes finally reveals the scope of Tornatore's vision for Baaria, which until then seems like an enlarged postcard with stunning images, but without the words that would reveal the sender's emotions.

While he seeks to look back into the past, he also wishes to equate a lifetime of memories to a split-second afterthought, highlighting the fact that time passes too quickly for us to appreciate each moment on its own, of which the medium of cinema can only suggest but not replicate. Through some heavy symbolism and instances of magical realism, Tornatore makes us aware of the medium at work.

Baaria, for all of its editing shortcomings, appears to transcend them by the time the end credits roll. Unfortunately, the parts that make up the film still linger unsatisfactorily in the mind. Baaria is Tornatore's love letter to his hometown. It is done with lots of love, but sadly, it just doesn't come out as such on the big screen.

SCORE: 6.5/10 (www.filmnomenon.blogspot.com) All rights reserved!

A long series of pretty pictures, very pretty and very long, but nothing close to real emotion. Everything feels so prepared to get an Oscar nomination that it may get it. It was in competition at the last Venice film festival but didn't win anything because, I imagine, the Venice Film Festival is a showcase for serious, innovative cinema and "Baaria" is none of that. It is a strange experience to sit through something so sentimental and come out with the sentiments intact. When you get a postcard from a loved one what may make you cry is what it's written not the picture in the card. "Baaria" is a blank card. I saw it only an hour ago in a well attended Roman cinema and the images that remain are just that, images without anything real attached to it. A who's who of Italian cinema parade in small cameos but I couldn't tell who was who. I think in Italy people are determined to transform "Baaria" into a big hit and why not. It is a pretty travelogue of a history lesson that looks like a fairy tale.

Lovely to look at. A chunk of 1900 set in a small Sicilian town, that town where Giuseppe Tornatore, the writer director, was born. I thought it was a delightful two and a half hours of snippets between fades to black. just like memories work, a bit of this and a bit of that. A tapestry of highs and lows among the remarkably unremarkable. My only puzzlement comes with the way Italians are reacting to "Baaria" Even if it was at the top of the box office charts there is tendency to dismiss this film for not confronting this for not confronting that for being too "clean" and a lot of other absurdities like that. This is an epic, expensive looking, personal film by the anointed "best living Italian Director" which means a director that is marketable in other countries, specially USA. I can predict that Americans will love "Baaria" in spite of the red flags and the romantic view of communism. They know that school of thought is by now as anachronistic as a typewriter and just as harmless. The leads are played by two scrumptious new stars and from the collection of cameos I took away with me Angela Molina and Lina Sastri remain vividly in my mind.