Libero

Kim is relaxed, acting and directing beautifully, fantastic debut as a first time director. He has somehow managed to achieve with Alessandro Morace the kind of performance from a child that does not exist anymore. Children in current films have become insufferable, overacting, distracting hammy, annoying elements in film today. Though now that I have said it I realize they are not much different than the adults. All the actors in this film were excellent, the story compelling and it is the first time I have ever seen a character, like my own father, portrayed so perfectly on film and also the reactions of the child. I understood the characters in this film so well that it was unbearably painful for me to watch.

Through a look at the life of a crumbling lower middle class family in Rome, first-time director Kim Stuart Rossi takes a surprisingly honest look at a number of issues, like divorce, and the role of males in contemporary Western European society. The movie is true to life in the best sense: the characters are very similar to people you know. Rossi Stuart also stars in the movie, playing a single father, living precariously as a cameraman, and having to take care of a young son and a teenage daughter (his irresponsible wife is in and out of the house, as the son explains to a rich neighbor and friend). The movie is shown through the eyes of the shy son, but I think the real protagonist is the father, a great dramatic creation of actor-director Rossi. He is a man with an explosive temper, always getting into trouble and thinking the whole world is against him, but he is not a bad person per se; it's just that his hyper masculine values seem to hold less and less value in today's society. Barbora Bolubova, playing the troubled wife, is also very fine. The end is a bit despairing, though as he says in the end, he has been down before, but has always bounced back.

I recently saw this at the 2007 Palm Springs International Film Festival and of the 31 films I saw there this film makes my top six. Actor Kim Rossi Stuart makes an impressive directorial debut with this film. Stuart began his acting career as a child actor and probably from that experience he gets the most from his two young actors in the principal cast who are making their acting debuts on film. Stuart casts himself as Renato who is a single father raising a son, Tommi (Allessandro Morace) and a daughter, Viola (Marta Nobili). This is a macho dominated family unit with all the pressure put on Tommi from his father Renato who wants to live his own childhood through Tommi and dominates and supersedes Tommi's own ambitions. Sister Viola kind of gets a free pass to skate through life from Renato. We soon learn that the children's mother Stefania (Barbora Bobulova) is very much alive as she repentantly returns to ask to be once again accepted into the household. She apparently has a history of extra-marital affairs but again in the macho society of this film there is no contesting child custody or the home to live in on her part. Renato has the ultimate say if she can stay or leave and the home and children are his. Both parents obviously love their children but both have emotional problems. Stefania as the straying mother and housewife and Renato who is a fun and creative guy but his broken marriage eats at him and he flares up at the children but also lovingly plays around with them like a kid himself. His do-it-my-way attitude spills out to his work environment also as a freelance film cameraman and causes further problems for him. The title Along the Ridge comes from the building rooftop where Tommi keeps a secret hiding place precariously perched at the edge of a steep roof high above the street below. Good story from Linda Ferri, Francesco Giammusso, Federic Starnone and Stuart with excellent cinematography from Stefano Falivene. I would give this an 8.5 out of 10 and recommend it.

Tommi, 11 years old, lives with his older sister Viola and his father Renato. At the beginning of the film we don't know where Stefania, their mother, is; but she appears again, and, even we came to know that in the past she hasn't been able to stay in the family and grow up her children, this time it seems she came to stay. Viola is happy, Tommi is more skeptical. Time will tell who was right. "Libero" is a defensive soccer player who doesn't have a specific opponent; Tommi, who is a very good swimmer but doesn't like to swim, at the end of the film says "Anche libero va bene" ("Even libero is OK"), when finally his father agrees to send him to a soccer school, even he'd better be a midfielder. This is a difficult film, dealing with the over-discussed family subject in an ordinary, but still very different way, aided by a superb interpretation of all the four leading characters, with a special mention for the first-time-on-screen Alessandro Morace as Tommi. Barbora Bobulova could be the best Italian actress if she was born in Italy (but we adopt her with great pleasure), and Kim Rossi Stuart, for his debut as director, is also convincing as Renato, even if he had to substitute at the last moment Sergio Rubini, who was the original choice. Probably the best Italian film of 2006.

Great debut, the one of Kim Rossi Stuart as a director, without pathetic scenes, tough and with no sappy concessions to an impossible happy end. A true world described with a true language and a deep tenderness, but knowing that certain situations allow very little tenderness to those who live them. A world seen through the bright, deep and severe eyes of a wonderful boy who is the focus of his family, the benchmark for his sister, the "strong man" both his mom and his dad need for different reasons, unsettled and insecure as they are. For the people living outside Italy who saw or have to see this movie, the world described in it is our world so don't go looking for some kind of "Kramer vs. Kramer" calm and aseptic atmosphere, here.

There are plenty of beautiful moments in the movie, but one would be enough to love it and it's when the father and his children come back home one evening, Tommi raises his eyes and he sees their house's windows: it's dark, no light. In the lift, he whispers: "The lights were off", mom has gone away again, he thinks without saying it. The look that father and son exchange is so intense, their desperation so palpable that it takes your breath away. I repeat, this scene would be enough. But there's much, much more.