Maria Sole Tognazzi’s latest drama awakened the interest of many dormant film enthusiasts, looking forward to a rich, heavy atmosphere, led by the stellar cast of Monica Bellucci, Ksenia Rappoport and Pierfrancesco Favino.
“The Man Who Loves (L’uomo che ama)” gives us a dark story, encased in shadows and pain; Roberto is a pharmacist who is unable to sleep despite his luscious silk sheets and neatly trimmed apartment; his life a pale reflection of misery, despite the fact that everything looks right on paper.
His sole hope is his relationship with Sara (Rappoport), a receptionist at a slick hotel, and he pushes the relationship, trying to get Sara to jump to the next level of excitation, free to conduct love and intimacy. Whoa, says Sara, who is reluctant to commit all her horses to this basket, and, it turns out, isn’t even that enamoured of Roberto.
Of course, that’s not all in store for the hapless audience, who are forced to watch endless repetitions of Roberto walking around, looking forlorn, driving desperately, working without joy. The audience knows there’s more, and that’s because we’re waiting for the arrival of Monica Bellucci, who is the star that drove us to this Sunday night screening.
It’s shallow, and a dangerous excuse, but there it is. It’s 2009, and I’m still enamoured of Bellucci, whose dark, sultry looks have been enhanced by her age.
In fact, it is this star billing that ruins “The Man Who Loves”. We know Bellucci is due to appear, and we guess at the outcome when the moment arrives, it’s a disappointment.
Truly, both Rappoport and Bellucci are minimally used; these are two actresses that are more than capable of holding up a movie on their own. When used in the backdrop, though, the film is sorely male-centered, with Roberto looking enviously at his gay brother’s successful relationship.
Tognazzi’s film is one of elegant images, carved perfectly from storyboard images, calculated to convey the sense of loneliness and rejection, augmented by the slick, trendy soundtrack. Why is it so unsatisfying to watch? There’s only a scattering of story to witness here, and the rest of the time, we sit impatiently.
I say:
A film with promise and potential, but ultimately squandered on the chase of style and image.
See it for:
Tognazzi uses her female leads as best as possible, giving them closeups and look, devious looks.
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