Don't Move Reviews
[font=Century Gothic][color=#ff8c00]Kevin Costner was also playing a member of the Detroit Tigers in "For the Love of the Game." As a Detroit Tigers fan, I have to ask: what did we do to deserve this?[/color][/font]
[font=Century Gothic][color=green]"Don't Move" starts out with a shot looking down at the scene of an accident through a rainstorm. Teenaged Angela has been severely injured in the accident. Her father Timoteo(Sergio Castellitto) is a surgeon at that same hospital. His daughter's accident brings him to reminisce about the past - namely, his car breaking down on the edge of town on the hottest day of the summer. He goes to use the phone at the home of Italia(Penelope Cruz) and in a drunken rage, rapes her. He returns to again have rough sex with her and gives her money.[/color][/font]
[font=Century Gothic][color=#008000]"Don't Move" is an Italian film that has some fairly high ambitions. The main theme concerns the very idea of forgiveness - can Timoteo be forgiven for what he has done? Or in more general, can men be forgiven for all the evil that they do? I don't think so, even if the film has other ideas...plus class plays a very important role in "Don't Move". Italia is a very poor seasonal worker but Timoteo's wife is quite wealthy. It's inferred that Timoteo is from a middle class background as he walks the line between the two. [/color][/font]
So well written, that emotion and character empathy overpower all those raunchy sex scenes : o
In the flashback, we can see Timoteo's dissatisfaction with his marriage even before Angela was born, but, more importantly, the accent is on his relationship with Italia (Penelope Cruz), which began by him rapping her. For a long time he has kept a double life, in love with Italia, but too much of a coward to confess that to his wife. Time for a final decision must come some day, and we suspect it can't end well.
This was Castellito's biggest international success, and I can see why some would like it. Its heart is in the right place, and it has one great performance by Penelope Cruz. However, the flaws in it can't be reduced by its nobility. My main objection is that I couldn't believe, as the story suggested, that Italia was the greatest love of Timoteo's life. Sure, they are connected by the troubled past, but the relation on the screen was not as further developed as Castellito wished. It seemed to me, as harsh as it may sound, that he showed a relation based on lust, trying then to sell it as great love.
The photography is quite beautiful in some parts, but the director had constant problems with the tone of the picture. He lost every chance to establish it with the overuse of slow motion in the first half, which probably looked like an easy way out of the creative problem.
Penelope Cruz is, undoubtedly, a star of the film. On a deeper level, her Lucia doesn't believe in a happy conclusion of this romance. She lives in fear which soon turns into an obsession, and Cruz managed to show this with the necessary subtlety. As for Castellito's performance, I'm not so sure of its constancy. I kept changing my mind about his interpretation during and after the film, maybe because I've seen much better actors doing these types of roles (Daniel Day-Lewis in The Age of Innocence comes to my mind).
My final impression is that Castellito wasn't able to surpass the picture's utter predictability. That doesn't have to be a flaw in these kinds of films, if a director is brave and skillful enough not to lead it through every single one of the usual steps. Castellito obviously didn't have the guts, and that's why the desired cathartic ending falls flat.
In Italia (P. Cruz) Timo has found his imago, and they embark on an affair that can only come to a band end - they both recognize this - but affairs are not about the destination, they are about the journey.
All great and doomed love affairs are the same journey - healing the wounds of our past.
The performances here are restrained and affecting, preventing the story from descending into melodrama. Penelope Cruz is stunning, revealing a vulnerability and depth that often seems to elude her in her English speaking films.