Anonymous-2 Reviews

Farinelli (1994)

Enchanting to the senses, but short on content...

[18 November 1999]

'Farinelli' is a film well worth seeing for its memorable visual imagery and its unique soundtrack. Mid-film scenes set against the decadence of 17th-century European court life make for charming costumes and sets. Contrasting visuals of rural Italy provide their own pastoral allure that is no less charming. Moreover, the film rises admirably to the daunting technical and artistic task of reproducing the tone of a castrato voice, considering that the musical world has not seen or heard a castrato singer for more than a century.

'Ah,' you say, 'sounds gorgeous...but what's it about?' Enter Carlo and Riccardo Broschi, Italian brothers who share musical aspirations: Riccardo composes, and Carlo sings what he writes. Carlo is a gifted castrato, but Riccardo is a mediocre composer at best. In time, Carlo becomes the renowned Farinelli while Riccardo struggles with his lack of talent/recognition as well as the troublesome fact that Carlo is his meal ticket.

The simple story line masks rich potential (think 'Amadeus'), but 'Farinelli' is hampered by shallow character development and its inexplicable tendency to substitute all-too-frequent sex scenes for emotional power. Without the full realization of the characters or the ramifications of the plot, the film struggles to keep a viewer engaged, at least in my own case. The beautiful pageantry of 'Farinelli' fails to compensate for its hollow dramatic core.

In short? Not bad, but a better music movie is 'Amadeus'(among others), and a better movie with beautiful Italian visuals is 'A Room With A View' (among others).

Mickey Blue Eyes (1999)

Pass GO, and keep your $8 in your wallet...

[15 November 1999]

Reasons to avoid this film, from an embittered viewer:

1. We've seen enough of the stuttering-yet-clumsily-endearing Hugh, but the makers of "Mickey Blue Eyes" apparently missed "Four Weddings and a Funeral", "Nine Months", "Notting Hill", "The Englishman Who Went Up A Hill...", and -- well, you get the idea. "MBE" constrains him in yet another mold of the stereotypical bumbling Englishman. (Note to self: shaking one's floppy hair does not constitute acting.)

2. Jeanne Tripplehorn is woefully miscast. Her chemistry with Grant as his Mob-daughter fiancee defines "implausible". And she brings a depth to the role that rivals most of Keanu Reeve's dramatic oeuvre.

3. Do you like to care about the characters in a film? Empathize with them? Share their joys and silently root for them when they're the underdogs? You'll have to do it in another movie theater. By the conclusion of "MBE", I didn't care whether Hugh Grant had married the Mob or not.

4. The best joke in the film? The name of the Italian restaurant run by Tripplehorn's Mafioso father: 'The La Trattoria', which translates to 'The The Trattoria'. Enough said.

In short...watch Grant in the charming 'Notting Hill'. Watch Tripplehorn in the engaging 'Sliding Doors'. But unless you want something for the VCR while you do the dishes, don't watch this.

Impromptu (1991)

An underrated treat...thank you, PBS!

[15 November 1999]

I first saw this film courtesy of "Masterpiece Theater", a weekly program presented by PBS -- had it not been for the good taste of one PBS program manager out there, I might never have seen this charming and provocative film.

Yes, it's a period piece. Yes, there are flounces and top hats and castles and duels. But the core of "Impromptu" explores love, jealousy, and the process of artistic creation in ways that keep the film captivating for the most jaded modern viewer.

Judy Davis capably assumes the mantle of convention-bucking authoress George Sand, providing a fiery counterpart to Hugh Grant's self-deprecating (and effective) Chopin. Mandy Patinkin shines as one of Sand's many jilted ex-lovers, and Bernadette Peters is maliciously admirable as Sand's "friend" who wants Chopin for herself. Emma Thompson's hilarious cameo as a dense provincial duchess itself provides almost enough reason to watch the film.

"Impromptu" boasts a great ensemble cast, witty dialogue, balanced humor and pathos, luscious period costumes and scenery, and the music of Chopin playing all the while -- what more could one want? "Impromptu" unfolds like a 19th-century soap opera, with arresting characters and meditations on art saving it from the banality of a typical romance...or a typical period piece.

This one's worth the flounces.

Tous les matins du monde (1991)

Relaxed pacing and beautifully scored!

[9 November 1999]

It's as futile to lump 'Amadeus', 'My Brother Vincent', 'Immortal Beloved', and 'Tous les matins du monde' together as it is to indiscriminately group all films about crime or all sci-fi flicks. So with pretentious generalizations on "art films" out of the way, I'd like to point out that 'Tous les matins' masters the art of pacing in a film. The story unravels in a process like the blooming of a flower -- consistent, organic, and fascinating, albeit a shade slow.

Secondly, any renaissance/baroque music fans should see this film merely for its delightful scoring. Though early European music may be an acquired taste, "Tous les matins" presents the viola de gamba in all its expressive glory, foreshadowing works like Bach's well-known cello suites. If the quasi-deep attempts to address the definition of music bother you (as they occasionally bothered me), the complementation of the music and the film's pacing will captivate you nonetheless.

And offhand, fans of Julian Sands (especially in 'Impromptu')will get a kick out of comparing him to Guillaume Depardieu as the young Marin Marais...;)