I read some reviews and interviews about this film. Plus, I saw the impressive film trailer. I thought it was a film worth seeing, regardless the fact I wasn’t convinced that Tilda could play the role.
It’s about a Russian woman who married with an Italian man coming from a very rich family in Milan. She fell in love with a cook, her son’s friend. Her love affairs helped her to find her lost identity. She was rejuvenated. The film ended with her son’s accidental death, she confronted her husband and announced her love for Antonio, left the grand residence.
The operatic film style struck somehow empty key notes in this film. It was exquisitely made – amazing camera work and music throughout the film. But I was getting bored in the first 30 minutes.
Tilda is a talented actress. Her niche lies in roles such as feisty, cold, intelligent, bizarre women, rather than a sentimental, sophisticated and feminine middle aged woman who speaks both Russian and Italian attracting a much younger Italian chef.
She is one of those who has got the perfect body but does not quite translate into sexy languages on the big screens.
She was completely naked in the film. I hardly believe anyone in the cinema felt excited and thrilled. I was yawning half way through the film, trying very hard to stay awake.
Films like this so precisely executed and visually challenged give that very clinical feeling. Where is the essence? Where are the vital ingredients that excite your taste buds? Years ago, when I travelled in Japan, I saw some beautiful cakes and pastries in the bakeries. I bought some. They didn’t taste great – there is something that Japanese can’t copy.
It was a film that satisfied the creators’ ambitions – something that intelligent film workers always wanted to do. Only left me unsatisfied – I expected much more, not from Tilda Swinton, but from what you can truly call a gem of indies.
Whereas Luca paid homage to his home grown celebrated director Visconti (The Leopard, 1963) (Death in Venice, 1971), I was wondering whether it was fair to call his film shallow. The fact was I was so captivated by Visconti’s The Leopard, I did not even realise that film ran 161-minute long.