Tableau de famille

Here is a film that is both unconventional and deeply touching.

The best thing about this film is the absence in it of any clichés. This holds, first of all, for the main gay character, Michele. In Italian films gay characters tend to be described in extremely stereotyped ways; in other films, such as "Philadelphia", there are gay characters that tend to be described as if they were sort of saints. In this case, instead, the main gay character is a complex man, with contrasting aspects; the tension between his love for someone he will never be able to fully share his love with and his inability to requite the affection of those who could; the tension between his attraction for the widow of his late lover, in whom he finds an echo of aspects he loved in him, and the hatred he feels for his rival; the bitterness for the love lost and the willingness to engage in fast sex; all makes this character a fascinating one.

Even more so for the main female character. For once Margherita Buy plays a different character from the neurotic, insecure women she has often played in the past, and is given a wonderful opportunity to show her dramatic skills. She's hurt and yet not bitter, she's open-minded and yet has a morality of her own, she's curious and yet not intrusive; she plays a thoughtful, sensitive, tender and deeply human character, for whom one can feel nothing but sympathy.

Many foreigners seem to especially like films which depict Italy and Italians in strongly conventional ways, such as "Mediterraneo", "Life is Beautiful" or "Cinema Paradiso": a rural country, populated by childish, superficial and sentimental people surrounded by beautiful landscapes, preferably in Tuscany, and artistic beauties. This film, set in a dilapidated district of Rome, will probably make them understand that Italy is a country quite different, in many ways, from the one they like to see represented in some Italian films.

This is my first encounter with a film by Ferzan Ozpetek and a more than satisfying one. This modest drama about a woman's growing understanding of the often hazardous and confusing life the homosexual friends of her dead husband lead is extremely convincing.

Almodóvar came to mind when seeing the commune of transsexuals and gay characters so lovingly and believably portrayed. Without the hysterics of the Spanish master Ozpetek manages to show the witty bitchiness, the hurt of and compassion for the Aids victims.

Mature is the word that springs to mind when the story unfolds and its old fashioned but unforced warmth pervades you. Without winning prizes for originality this film shows that, when made with heart, involvement and wit, one can tell an old tale over and over again.

It's also nice to find exploitation veteran Erica Blanc in a quirky but well perceived bit part.

This was a chance rental, recommended by the owner of my local rental shop and it was a wonderful surprise. We are introduced to the perfect marriage at the outset, Antonia, the wife (played winningly by Margherita Buy) and Massimo, the husband ( played by Andrea Renzi) It is fifteen years along into the marriage straight out of high school and it is sexy and fulfilling, with a wonderful house on a lake, a full time maid and no children by choice.

And just like that, Massimo is killed in a traffic accident and thus begins the story of the unfolding of the secret that he withheld from Antonia for seven years.

In her detective work, Antonia, an AIDS doctor, uncovers another life that Massimo has lived.

Enter handsome Michele ( played by Stefano Accorci), who lives an openly gay life, filled with friends, some straight, some gay, some transgendered. Michele is real, flaws and all and conveys the promiscuous life of a lusty gay male.

Antonia and Michele fight a burgeoning attraction for each other with Antonia repulsed at times by his sexuality with other men. She also becomes bonded with his friends (she has made Massimo her raison d'etre and abandoned other friends for him) and slowly begins to understand his grief process.

Nothing is drawn in black and white here. One senses that Antonia and Michele are right for each other. Massimo was never an intellectual whereas Michele and Antonia are. There are many layers to the story and some wonderful characterizations. The part of Antonia's mother is a particular delight as is the part of Serra, they both have their secrets too.

I gave it a 9 out of 10 for the Italy that it shows, a colourful, complex Italy and the characters that clamp around the heartstrings and don't release for a long time afterwards. The only flaw was in the measly subtitles but at times my Italian was good enough to pick up the nuances and the unsubtitled dialogue and background.

Bravo and Brava to all.

I greatly admired "Steam" by director Ferzan Ozpetek. He has an eye for detail with interesting stories to tell, as it's the case with this one.

The story presented here is credible. It is what happens after a loved one has met a horrible death, as it is in the case of Antonia's husband. Obviously, what appeared to be a happy marriage on the surface was a bit more complicated than we are let to believe at the beginning of the movie.

Don't ever fool around with a woman's curiosity! Antonia can't rest until she delves deep into the clues left behind a painting. She embarks into a journey of discovery that will ultimately lead her to learn a horrible truth.

Antonia meets Michele who, obviously, is someone who turns out to be a mirrored image of her. That's why is so easy to comprehend the situation. She gets our sympathy because instead of fleeing in horror, she wants to know more to get it clearly in her mind.

Margherita Buy is very effective as Antonia and Stefano Accorsi's Michele is one of the best roles he has played in a while.

Credit has to be given to director Ozpetek by keeping things in rein without making the story into a soap opera.

It is such a delight to watch a gay-themed film which is not over-indulged in melodramatic sentiment and what's more precious is that it innovates an authentic and positive gay community within to encourage more people to look on the brighter side of the world.

Ozpetek's self-imposed gay identity opens a gate for us to see more scrupulously into contemporary gay communities, without the thwart of the religion, the social prejudice, the indoctrinated moral standards from family and friends. It manifests that sexual orientation is much of a choice rather than any mammoth title being forcefully added upon this minority group.

The film is epidemic to all kinds of demographic classes, gay/straight/bi-sexual, man/woman/transsexual, everyone could dip into it and acquire different nutrition which he/she needs.

The acting is generally agreeable, Margherita Buy as the female protagonist, manages an amiable appearance to elevate the inner intricate complexion of her character. Stefano Accorsi, on the other hand, is more an unsubdued opposed image to underline the other facade of Margherita's role, a quirky chemistry could emerge between this two friend and foe (demonstrated by an explicit kiss scene where both try to find the scent of her husband/his lover), as a matter of fact, it is individual nuance matters here, anything else could not be exerted as a criterion anymore.

The Turkey-born director Ferzan Ozpetek's skill hones to a new state after his debut STEAM: THE Turkish BATH (1997) and LAST HAREM (1999), the milieu and the myriad of different characters develop an affluent emotional touch eventually (although most of them are underwritten as a sacrifice of the main storyline).

Anyhow, Ozpetek has established his fame and poise as the most promising contemporary Italian directors, his latest work LOOSE CANNONS (2010) will be my next object.