Renato's father (Luciano Federico) is meant to offer comic relief, but comes across as a charmless, bullying moron. But Tornatore's characters are stereotypical and grotesque. Tornatore is also attempting to echo the early post-war neo-realist movement, and there is even a verbal reference to Vittorio De Sica, one of its greatest exponents. His "Amarcord", for example, is a marvellous evocation of a Rimini childhood. Renato, having followed her progress through his adolescence, watches her humiliation passively.įellini would have done this more incisively. After the arrival of the Nazis she consorts with a German officer, behaviour that shocks the townsfolk, and later she is brutally punished by the women who beat her, shave her to the scalp, and strip her in public. She is a war wife, and her husband is posted missing. One of the boys, Renato (Giuseppe Solfaro) becomes so besotted that he takes to spying on her, peering through her windows, and using her as a masturbatory object. In the early days of the fighting, the youth of a small coastal town make a habit of foregathering on the seafront to watch the daily promenade of Malena ( Monica Belluci) a young woman of ravishing beauty who strolls past totally ignoring them. The Second World War: Italy begins on the side of the Germans and later switches to the Allies, leading to seriously ambivalent attitudes. Giuseppe Tornatore's film, like his magnificentĬinema Paradiso", is set in Sicily, and recalls a past time within living memory of older people. As a result, only he knows the truth about her love affairs.It ought to work better than it does.
Young Renato (Giuseppe Sulfaro) even spies on her at intimate moments, because it so happens she lives in a basement apartment, with a chink in the wall. He loves her so much he follows her everywhere, but since she walks as though with blinders on, she never notices him. Yet there's one teenage boy - and this is so appropriate for Tornatore's romantic sensibility - who doesn't just lust for Malena he loves her. It won the Grand Prix at the 2001 Cabourg Film Festival. War is raging, but the real news is Malena, the obsession of every man and boy in town, and, as a newcomer, the object of much speculation and lewd gossip. It was directed and written by Giuseppe Tornatore from a story by Luciano Vincenzoni.
"Malena," based on a story by Luciano Vincenzoni, was adapted by Tornatore, who set it within the Baroque atmosphere of the Sicilian shore.
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She becomes more weathered, more stooped, yet more assured and dignified, less full of dread. Her goal is not to interact, to go about her business. She doesn't court it, doesn't want it, but at the same time, this is nothing new, and she's not angry about it. Malena knows her beauty causes a commotion. As a newcomer living in the home of her father-in-law while her husband fights in North Africa, Bellucci suggests a complicated set of internal processes. Malena's walks through town alone add up to significant pieces of acting. But it's not true.īellucci conveys much through subtle means. One might be tempted to give in to the facile conviction that it's hardly a performance at all, that the actress's beauty is merely a blank canvas onto which the audience projects its own emotions.
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