Il padre e lo straniero
REGIA: Ricky Tognazzi
ATTORI:
GENRE: Drama
LENGTH: 110 min
Diego (Alessandro Gassman) e Walid ( Amr W aked ), l’amicizia fra due uomini e una confusa storia di terrorismo (?) internazionale. Questo è il succo del film.
I due uomini si incontrano, a Roma, in un istituto per bambini minorati. Tutt’ e due i padri hanno un figlio minorato. Sembra un incontro banale e piuttosto scocciante per Diego, che non ama suo figlio, Giacomo, o almeno non lo ama come lo ama la moglie, con la quale a causa di questo ha ormai rapporti difficili.
Walid invece ama suo figlio come una madre e più di una madre. E insegnerà Diego to love his son James in an extraordinary way.
Their friendship is between two men males. E 'friendship mainly dominated by the charm of Walid, the stranger. And 'one who comes from Syria and that speaks sententious. It has a mysterious charm and sometimes sinister. The charm of 'Arab treacherous, though always polite.
Diego'll be enchanted and follows him everywhere. For a Rome that appears in Damascus and turned up in Damascus on board a military plane that seems to belong to the rich Walid.
Walid sometimes takes the figure of the preacher (but announcer what? peace is lacking in Diego with his partner? or his inability to love his son, James?). Sometimes, however, Walid looks like a fallen Lucifer, in a plot of international intelligence services (very bad part of this film) which seems to have taken advantage of the friendship Diego for its terrorist plots.
Sometimes the film will act as an introduction to the beauty of the East (Arabic) as if the only way of salvation for civilization and chaotic neurotic Italian.
It 's a movie that surely reflects the influence of Ferzan Ozpetek (Il bagno turco – Hamam/La finestra di fronte), molto manierato, con ripetute ed insistite oleografie e con un mistero (alla “Finestra di fronte”) che alla fine non porta da nessuna parte.
Ancora una volta la preoccupazione dello stile supera quella della narrazione. Non si riesce a fare narrazione senza gli scrupoli del bello stile (fin troppo ricercato).
Si ritorna di nuovo alla radice del problema: il cinema italiano si rende conto di essere indietro rispetto al cinema internazionale e cerca allora di fare un cinema mainstream ma con all the goodwill and good ideas (and this film has good ideas) can not make a good product.
[I would hazard a guess: my feeling is that the producer / director or film does not have a cultural background that will take him far beyond the average or not there is wisdom and cunning of research (marketing) produced a film on how to go mainstream or all 'and two]
The finish is pretty trivial and thus contradicts the law of Charlie Kaufman (a save a great final film).
However, as my friend Matteo Patrone says, "is a step in the room." And if it has any merit Tognazzi's film is to believe in the dialectic between East and West. An urgency that has become more urgent than ever now, with the recent riots in Arab countries, by young people who ask for bread, work, dignity, justice and respect for human life and no longer want to tyranny and exploitation.
Three stars.
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