Don't Move ( Non ti muovere ) ( Do Not Move )

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Alcuni dialoghi non li ho capiti: è un po' come se i due interlocutori fossero su due frequenze diverse e uno rispondesse alla domanda di un'altra voce udita nell'etere, invece che a quella dell'interlocutore che ha di fronte. Il modo per espiare i propri peccati non lo si trova certo facendo una menata piagnucolosa su quanto "sono stato sfortunato nella mia vita" (stile " "La solitudine dei numeri primi"": gente che non si rende davvero conto cosa voglia dire avere sfortune dalla vita). this is the stuff of a fifties ross hunter B-movie weepie, but it is presented with with the somemnity of antonioni. (the filmmakers are seriously deluded about their intellectual qualifications). worse is the utter moral corruption of the point of view, in which the audience is encouraged to identify with the "hero's" state of suspense about his own daughter's fate, which is metaphorically presented as a kind of judgment about his own soul. La ragazza, che ha avuto l'incidente con il motorino, viene portata in ospedale. Ospedale presso il quale, per l'appunto (ah, gli scherzi del destino!), lavora come chirurgo il padre, Timoteo. translated into English by John Cullen Don't move, London: Chatto & Windus, 2004. ISBN 0-7011-7677-6

Don't Look Now" is a riveting story of a surgeon sitting in the waiting room of a hospital where he works with his 15 yo daughter and only child seriously injured fighting for her life in the operating room. Whilst waiting he recounts the crucial moments in his life and mainly his sordid and violent (his) relationship with Cruz, a derelict young woman and the interplay and very much parallel life with his wife, a successful journalist played by Claudia Gerini who looks very much like an Italian Diane Lane.. beautiful hair, classical looks.

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Non mi pongo nemmeno troppe domande, non leggo niente (come, invece, ho imparato a fare) e vai con l'acquisto! Non ti muovere' ('Don't Move') requires a lot from its audience - concentration, understanding about the extremes of control versus passion, and a willingness to stay with the nonlinear method of storytelling that novelist Margaret Mazzantini and screenwriter/director/star Sergio Castellitto have elected to use. This may be a little film about a few people, but the exposition of the story feels epic in its proportions (over two hours in length) and in the flamboyance of its production. In the end the demands of the film, in this viewer's mind, reward the viewer handsomely.

Respected in his profession, married to a beautiful, cultured and understanding wife (Claudia Gerini, currently getting stateside exposure as Pontius Pilate's compassionate wife in The Passion Of The Christ), Timoteo is prey to dark dissatisfactions and wild urges which come to a head one hot summer's day when his car breaks down in a godforsaken, half-built outer suburb of Rome as he is driving down to his seaside house. Non c’è un principe, e nessuna carrozza di mezzanotte, Italia è una donna dei bassifondi, destinata a rimanerlo, la cui casa con le pareti che tremano ospita Timoteo, talvolta sprezzante, ma oscuramente e inesorabilmente innamorato di questa donna che cucina il sugo con i pomodori raccolti dal suo stesso orto, veste abiti stravaganti e ha smesso di chiedere alla vita. A rainy day, a missed stop at the traffic light, a 15-year old girl skids an falls from the scooter. The ambulance takes her to the hospital where her father works as a surgeon. While a colleague is operating on his daughter, Timoteo waits. Terrified by the thought of the extreme consequences of the event he starts talking and throws away his mask of stern professional, of exemplary father and husband,to reveal his violent and deranged nature. original title: C'è un incidente e così che, in pochissimi secondi, il destino di più persone rischia di cambiare per sempre. Per adesso, è in attesa, appeso a un filo molto (molto) sottile.La sceneggiatura del film è tratta dal romanzo omonimo scritto da Margaret Mazzantini, autrice e moglie di Castellitto. Don't Move (Non ti muovere)" is a European intellectual take on "Unfaithful" with issues of abuse, class, religion and regionalism replacing the Hollywood thriller aspect of the results of infidelity within an upper middle class marriage. Well, I think that it's a true masterpiece ... gripping, heartfelt, as kudos-deserving as the best-selling novel of the same title upon which it's based, written by Margaret Mazzantini (here she is the co-screenwriter and also appears in a glimpse-like wordless cameo, at the end of the movie), winner of the Strega - one of Italy's main literary prizes - in the year 2002. Soffermiamoci poi un attimo su questo " stupro". Spunta un po' dal nulla, perché nulla (né il carattere né il passato né il presente del medico) prepara il lettore a questo evento inspiegabile e, anzi, il protagonista stesso sembra crederci poco (non una domanda, non un'analisi sull'accaduto, non un dubbio, non un rimorso… insomma, stiamo parlando di un libro in prima persona che segue il punto di vista e, di conseguenza l'introspezione, del protagonista; e, quindi, dimmi qualcosa dannazione! Hai appena commesso un atto ignobile: sei contento? Sei triste? Ti senti una m***?).

however, just so the hero (and audience) can walk away with a clean conscience, in the parallel story, the hero's daughter survives. and so, like magic, you have a happy ending. morally despicable, yes. like a cheaply bought absolution for a medieval murder, it wreaks of a fundamental decadence of the soul. Sergio Castellitto è Timoteo; chirurgo frustrato e infelice. Sente che la sua vita con Elsa non è felice e dopo aver violentato Italia, se ne innamora perdutamente ritrovando in lei la gioia e la voglia di vivere.

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Lo stile di scrittura, soprattutto all’inizio, mi ha dato davvero fastidio. Ha usato termini ormai dimenticati, come se volesse far vedere quanto sia forbito il suo lessico. Poi fortunatamente va scemando, e lo stile si semplifica, o forse sono io che mi sono abituata, ma per questo ho fatto fatica ad immergermi nella storia. The director and male lead Sergio Castellitto - who plays the cowardly ambiguous surgeon Timoteo - is as immense as always. He's also the other co-screenwriter of the movie. He's - above all - author Margaret Mazzantini's husband of many years. His was clearly a true labor of love.

I watch mainly French and Italian films from the 40s-80s, and I think it is bizarre to compare this film with Fellini or other art films. I found it more on the level of L'Ultimo Bacio -- actually a hardcore version of that film, without the fun and cuteness, and with weaker female characters. Toscano, Angela. R. “A Parody of Love: The Narrative Uses of Rape in Popular Romance.” Journal of Popular Romance Studies, vol.2, no.2, 2012, n.p.

Timoteo (Timo), the protagonist of Don’t Move (the narration is entirely from his perspective) is a surgeon—successful, wealthy, and disillusioned. One day he sees Angela, his teen-age daughter, being brought, unconscious, to the hospital where he works. Angela had a serious accident while driving her scooter and is in urgent need of surgery. Timo, who cannot execute the operation himself, can only wait for its outcome. And what about Sergio Castellitto himself? This extremely charming and intelligent man has been an acting God for more than twenty years here in Italy; he's an uncanny mix of subdued and brainy acting, total sincerity, powerful emotions in display, instant ability to deeply inhabit any character ... and despite his 50 years of age (he's 20 years older than Penélope), they are absolutely MORE than believable as a mismatched couple of lovers who're overwhelmed and bewildered by a passion which they can't explain, not even to themselves. Like I said above, they share a burning-hot chemistry, which is not only a sexual one but a sentimental one as well. A couple of other points. Elsa knows of course that her husband had fallen in love with someone else. She can sense it in the new passion he brings to making love to her. She can deduce it in his absences from her and from the change in his manner. But she never says a word. That is interesting. Perhaps she knows it will pass. And it does, but not before Timoteo performs a "marriage ceremony" at a hotel restaurant near the place of Italia's birth with Italia, and with the "reheated soup" and the wine and cheese as witnesses, and not before he fantasizes aloud with her of leaving his wife and newborn child and going to some far off place with her alone. Only tragedy, it would appear, prevents his leaving Elsa for the love of his life. Don't Move is worth any number of seminars on the state of Italian cinema, and is ample proof that there is life in the old dog yet. The cynical might object that this is because of a standout performance by Spanish star Penelope Cruz, who does something akin to Charlize Theron in Monster, sending a career that has been on creative pause since All About My Mother into sudden fast forward by going magnificently ugly and awkward. this is primitive absolution fantasy reasoning. the drama of the story never actually forces the surgeon to transform-- or confront himself. everything happens to him, so his pure narcissicm (and the audience's) is never disturbed. his daughter survives so he can put away the bad memory of his crime, and go on and do whatever he wants. (maybe next time he'll rape his own daughter), but surely he'll be absolved for that too).