Doing What You Love – Billy Elliot Review

Stephen Daldry’s Billy Elliot is a British drama film about the 11-year old titular character Billy Elliot (Jamie Bell) who discovers his special talent and struggles in the process of honing it because of external factors that hinder him from doing so.

Billy’s widowed father, Jackie (Gary Lewis), dreams of his son to become one of the best boxers someday. Billy, however, chooses an unlikely road and falls in love with the art of dancing. To make things more complicated, the dance that the protagonist becomes passionately acquainted with is ballet, which is something widely considered as a female thing.

Torn between his unusual and unexpected love for ballet and his family, Billy chooses to secretly continue taking ballet lessons from supportive dance teacher Georgia Wilkinson (Julie Walters). Georgia sees a lot of potential from Billy and advises the boy to study at the Royal Ballet School in London.

It isn’t long before Billy’s family finds out about his goal of becoming a professional ballet dancer. His father disapproves and his older brother, Tony (Jamie Draven), makes fun of him. Despite these, Billy remains determined to master his newfound talent.

On a Christmas evening, Jackie witnesses Billy dancing in the gym. The scene becomes an eye-opener for the father and he realizes that his son is indeed talented. This became a vehicle for the father in actualizing his son’s dream by doing whatever it takes to raise money for Billy’s audition in the prestigious ballet school. Tony undergoes a change of heart as well and the rest is history.

Billy Elliot is a well-made film because it succeeds in doing what it aims to achieve. It is a heartfelt depiction of a person working hard to make his dreams a reality despite the hardships that hinder him. It tells the audience that it is not about what you do. It’s about whether or not you love what you do. And it is significant to love what you do. It doesn’t matter what other people say. As long as you love what you are doing, keep moving forward. This is beautifully translated to the film through the deep relationship shared by Billy and Georgia. The film also gives a symbolic message of letting go. The act of destroying and burning the upright piano is a symbolism of accepting the death of the mother in the family and moving on.

Living one’s dream and never giving up in the process are the powerful messages that shine in the heart of the film. Ignoring the unnecessary epilogue, Billy Elliot is my personal favorite among all the films I’ve watched in Hum 3 class so far.

 

A Father’s Sacrifice – Life is Beautiful Review

Roberto Benigni’s Life is Beautiful is a tragicomedy that deals with life in a simple perspective. With such perspective, life is given flavor with the struggles of protagonist Guido Orefice (Roberto Benigni), a Jewish Italian, as he deals with love, war, and fatherhood.

Similar to another Italian film “Malena,” Life is Beautiful is a unique combination of humor and drama. The first half of the movie is full of color and whim as it introduces the funny and charismatic protagonist in an amusing way. It also establishes the protagonist’s romantic relationship with school teacher Dora (Nicoletta Braschi).

Dora, a non-Jewish Italian, is a woman of humility despite coming from a wealthy and aristocratic family. She is entranced by Guido’s unique charm and falls in love with him. However, her mother wants her rich, arrogant fiancé. Hope is never lost and Guido steals the woman of his life at her engagement party. They are married and their unlikely love bears a fruit. Their son’s name is Giosué Orefice (Giorgio Cantarini). And this is where the transition to drama begins.

World War II has begun and the second half of the movie bids goodbye to the lighthearted atmosphere of the first. Guido and Giosué, on the latter’s fourth birthday, are forced to ride a train that will bring them to a concentration camp. Dora, despite not being a Jew, demands to be on the same train to be with her family.

In the duration of their stay in the concentration camp, they are treated with hostility, compelled to work, and forced to live the life of a prisoner. Guido doesn’t want Giosué to worry and he does all he can to keep his son from understanding the painful truth of the situation that they are in. He successfully convinces the boy that the camp is a game and they are competing with the others to win a tank. In the end, the boy seemingly wins the game but at a tragic price.

A recurring symbol in the film is a box. It is not merely a hiding place for children. It symbolizes the situation of hiding itself. For one thing, the concentration camp is a hidden place in Germany. It is also what saved Giosué during the entire predicament. Literally, the box saved him because it is a brilliant hiding place. Figuratively, his father’s method of hiding the truth of their condition gives him the hope to win the game.

The central motif of the second half of the film is a game. It is the method used by Guido to alleviate the horrors of the Holocaust from the eyes of his son. By creating the game, he successfully protects his son and his innocence from the dreadful reality, saving his life in the process.

The film is extraordinarily rare. It is not easy balancing tragedy and comedy but Life is Beautiful succeeds in doing so. It effectively starts the plot with humor to introduce and develop the colorful characters. It then shifts to a more serious tone while maintaining the color of the characters amidst the unfriendly situation that they are in. The drama works because you care for the well-developed characters. The ending, while abrupt, will satisfy the viewers. The heart of the film shines through the power of love shared between Guido, Dora, and Giosué.

One Man Can Make a Big Difference – Schindler’s List Review

Steven Spielberg’s Schindler’s List is not just a film. Nor is it just any kind of tribute to the victims of the Holocaust. It’s an event. It’s something that possesses the exceptional power of awakening our senses as it delivers its universal message of how the strong human spirit conquers life’s hardships.

Realistically set in World War II, we are introduced to Oskar Schindler (Liam Neeson), a German businessman and the film’s protagonist. He acquires a factory in Poland, employing Jews and earning the fortune he hoped for. As a result, Schindler is pleased with his Jewish accountant Itzhak Stern (Ben Kingsley) and forms a strong friendship with the collaborator. In turn, the Nazis are pleased with Schindler’s newfound wealth.

The ruthlessness and inhumanity of the Nazis is personified in the character of Amon Goeth (Ralph Fiennes). The main antagonist of the film, Goeth is an SS officer who, according to my calculation, killed the most number of people on screen. He is menacingly cruel and doesn’t show any sign of remorse for his brutal actions. He is befriended by Schindler. And through Stern’s sly but wise concentration to bribery, Schindler benefits from SS protection.

As time passes by, and more Jews are mercilessly executed, Schindler undergoes a change of heart. It is his accountant who opens the eyes of Schindler. It is his accountant who discovers a way to save his fellow Jews. It is his accountant who types the titular list of names to save them from the hands of the Nazis by employing them in Schindler’s factory. Schindler gradually agrees and the rest is history.

The film creates an admirable character in Schindler. He starts off as self-important and greedy but eventually grows into a selfless and noble person who sacrifices his luxuries and saves more than a thousand lives. Similarly, Goeth undergoes a slight change as well, although short-lived. Indeed, there is good in every man no matter who he is and what he has done. And indeed, even small things can make the biggest changes of all.

During one of the few instances where color is shown, we see a little girl in a red coat. This little girl allows Schindler to become profoundly aware of the horror that the Jewish are experiencing. She represents the innocence of the Jews being murdered. Red is chosen to symbolize the blood shed by the Jews during the Holocaust. The girl’s obliviousness reflects the inability of those who are aware of such injustice to act upon it. Later, we see the dead body of the little girl. Her death symbolizes the death of innocence.

Without a doubt, Schindler’s List is a powerful film. Primarily shot in black-and-white, the film largely succeeds on its simplistic, realistic tone and documentary-like depiction of the harsh realities that haunt the Jews during the Holocaust. John Williams provides a sad, haunting score that is effectively integrated into the film. Overall, the film doesn’t need to be epic or grand. It doesn’t require sophisticated visual effects. What makes it soar is its theme of human’s unbroken spirit amidst adversities and strong will to survive when hope seems lost.

Unheard Resonance – The Piano Review

Jane Campion’s The Piano is a haunting drama film about a mute pianist who breaks free from her imprisoning will. Set in the muddy forests of New Zealand, the pianist Ada (Holly Hunter) is about to change her life forever as she enters a world strange to her and meets a man who longs for her.

The highly symbolic film opens with a symbolic scene. The viewers are introduced to the protagonist through her fingers. Her fingers are suggestive of prison bars. Ada is mute not because she is naturally incapable of speaking but because she refuses to do so. She has not spoken a single word since she was six years old. She has created her own prison, distancing herself from other people.

The story begins when our protagonist and her daughter Flora (Anna Paquin) are shipped off to New Zealand. On her father’s command, Ada is sold into marriage to a man named Alistair Stewart (Sam Neill). The upright piano accompanies their journey across the waves of the sea. It is a part of Ada and she can’t live without it.

The mere fact of knowing that she is mute leads us to another significant symbol. The titular piano is her voice. She expresses herself by playing the musical instrument. It is her only way of conveying her thoughts and emotions to other people aside from the usual hand gestures. When Alistair decides to abandon the piano on the beach,Ada’s objection is clearly evident despite the absence of words. She has a deep connection with the musical instrument and it is something that Alistair fails to understand. Flora tries to convince her future father but fails in the process. The decision is made final and the wall between Ada and Alistair is established despite their impending marriage.

Determined to be reunited with her piano,Ada, together with Flora, enter the muddy forest to visit George Baines (Harvey Keitel). The man reluctantly agrees to take them to the beach. There, Ada blissfully plays the piano and Baines falls in love with Ada and her profound passion for music. The budding romance between the two characters is established. Baines ultimately gains possession of the piano and proposes a deal with Alistair – the piano and piano lessons from Ada for a piece of land. Alistair agrees and the romance between Ada and Baines grows passionately from lust to true love. When their secret relationship is exposed, Ada becomes literally imprisoned as Alistair locked her in their house and even boarded up the doors and windows.

Yearning for Baines, Ada removes a piano key to write a message on, a symbolism of self-sacrifice, and asks Flora to give it to Baines. However, the girl has grown restless of her mother’s infidelity and hands it to Alistair instead. The enraged Alistair storms home and cuts offAda’s index finger. Such is another symbol of self-sacrifice. She has lost a part of her voice and she has lost her ability to play the piano. The ending represents Ada’s act of breaking free from her imprisoning will. She lets go of her piano and starts a new life with Baines. She is now willing to speak.

The Piano is an artistic triumph. The protagonist doesn’t need uttered words to become a powerful character. Her growth beautifully resonates in the film.

Forbidden Love in a Time of War – Baler Review

Mark Meily’s Baler is a Philippine historical film recounting the Siege of Baler, which happened towards the end of the Spanish occupation in the Philippines. During the final moments of the Spanish rule, a group of Spanish soldiers take refuge inside a Church at the town of Baler for almost one year. While this is the basic premise of the film, the main focus is on the forbidden love shared between the two main characters.

Baler is a love story set in a time of war. To make things more complicated, the love being depicted is reminiscent of Shakespeare’s Romeo and Juliet. Celso Resurreccion (Jericho Rosales) is a brave Spanish-Filipino soldier serving the Spanish military. Feliza Reyes (Anne Curtis) is a young Filipina whose father, Daniel (Phillip Salvador), longs for independence and holds a deep resentment against the Spanish soldiers. Fate brings them together and love strengthens their bond. They know the tragic consequences if their actions but they fight for their love, even reaching to the point of risking their lives by meeting in secret.

The theme of fighting for the things worth fighting for powerfully resonates in many aspects of the film. First, Celso and Feliza share a deep love despite the opposition of the situation they are in. They fight for it because they remain hopeful that one day, the society will accept their relationship and they will live happily together. Such forbidden love bears a fruit, signifying the strength of their emotional war and embodying Celso, who dies at the end of the film.

Second, Feliza’s brother, Gabriel (Carlo Aquino), fights for his passion in serving God by being an altar boy. He dreams of becoming a priest, much to the chagrin of his father. Against all odds, he fights for his dream and soon gains the respect of his father, who initially regarded him as weak and useless.

Finally, the battle between the Spanish troops and the Filipino rebel soldiers is a battle of sheer strength and resilience. Each side possesses a deep passion, willing to fight for it to the death. Giving up is not an option. The Filipino rebel soldiers fight with all their might, showing no mercy unless their enemies surrender. In turn, the Spanish soldiers courageously resisted the powerful force despite being outnumbered. They withstood the relentless attacks of the rebels by fortifying their hiding place for eleven months with scarce basic needs.

The church is the only building in the area that is made of stone. Such place does not only represent the sanctuary of the Spanish soldiers. It also symbolizes their incredible endurance despite their condition inside those stone walls. The Spanish flag they raise symbolizes their hope and patriotism. Figuratively speaking, their resistance is as tough as the stone. Bravo, the puppy, is a representation of Celso. His untimely death foreshadows Celso’s. Loyal as they are, they meet their end in the hands of their comrades. Both of them are unpolished gems, meeting a tragic end. Although they are not able to shine, they will be remembered.

Overall, Baler does more good than bad. I was pleasantly surprised by the quality of the film. Lee Meily’s cinematography is beautiful, which is rare in today’s Philippine movies. Both Rosales and Curtis played their roles well despite not resembling their characters’ descriptions. The overlong runtime hurt the film but it managed to stand in the end. As what Lope (Mark Bautista) said, love is indeed difficult in the time of war. Only those willing to fight for it will triumph in the end. Sacrifices will be made along the way. But such sacrifices will be worth it.

Dark Side of the Coin – The Crime of Padre Amaro Review

Carlos Carrera’s The Crime of Padre Amaro is a straightforward film depicting the social realities of the Catholic Church. There are two sides of the coin and the film shows both. But the film chooses to delve deeper into issues that are often overlooked because they are considered as controversial in nature. In doing so, the film boldly presents the negative side of the coin as it portrays the transgressions of the church from scene to scene.

Newly ordained Padre Amaro (Gael Garcia Bernal) arrives at a small town in Mexico to begin his mission as a priest. He is sent to such place to assist Father Benito (Sancho Gracia), who is the village’s parish priest. Padre Amaro is introduced as a young man, willing to help those who are in need. Near the beginning, his innate kindness is revealed as he helps a fellow bus passenger by giving him money to alleviate the loss from a holdup. However, as the film progresses, he loses his way.

It isn’t long before Padre Amaro becomes aware of the immoralities of fellow priests. Aside from having a secret affair with a local restaurant owner, Father Benito receives financial aid from the region’s drug lord for the construction of a hospital and recuperation center. Father Natalio (Damian Alcazar), another priest in the region, allegedly helped the revolutionary group, making the rebellions against the drug lords and mobsters possible.

Padre Amaro’s strength is put to the test as Amelia (Ana Claudia Talancon), the sensual teenager of the restaurant owner, tempts the priest. Amelia succeeds and their forbidden relationship bears a fruit. Abortion became the only solution for the troubled couple, which results to Amelia’s death and Padre Amaro’s disgusting lies.

The theme of the film is the unhealthy absorption of a priest to the deceitful bureaucracy of the church. The crime of Padre Amaro isn’t limited to his lustful affair with Amelia. It isn’t limited to abortion either. The real crime of Padre Amaro is the fact that he allows himself to do the things that go outside the bounds of his priestly oath for his own personal gain or self-preservation. When a local newspaper exposes the scandalous information about Father Benito’s connections with a drug lord, the church has Padre Amaro write a denial and the journalist responsible for uncovering the truth is unfairly fired. When Father Benito uncovers Padre Amaro’s relationship with Amelia, he blackmails the old priest into acquiescence. Finally, when Amelia dies, the important details of the case are suppressed in favor of Padre Amaro. A false story is disseminated all over the town, passing the blame to Amelia’s ex-boyfriend, and giving praise to Padre Amaro for attempting to save Amelia and her child from the abortion clinic. He even shamelessly presides over Amelia’s funeral.

The film presents a powerful message as a wake-up call to correct what must be corrected regarding the social issues that plague the church in today’s world. The film makes it clear that even the most principled man is fallible and flawed. The Crime of Padre Amaro succeeds in delivering the message but it fails to make the process of delivery engaging and compelling.

A Floating Raft – Sex and Lucia Review

Julio Medem’s Sex and Lucia is a rare, beautiful film. It begins with a lot of questions and ends with unpredictable answers that will linger on after watching it. It fascinates you as you watch it and it leaves an unforgettable mark as it ends.

Do not be fooled by its title. “Sex” represents one angle of the film while “Lucia” represents another. The film incorporates both and combines them in a perplexing yet amazing way. Having stated these things, the story revolves around Lucia’s (Paz Vega) boyfriend, Lorenzo (Tristan Ulloa), who is a writer.

The interesting part here is that Lorenzo is a troubled writer. Depressed by life’s adversities, he has been fictionalizing reality. And his troubled life is such reality. A third character, Elena (Najwa Nimri), is the woman that brings courage to Lucia. The three do not know how their lives are connected. But they can feel the connection.

The island has symbolic holes. These holes represent two things. In “Sex,” it represents a new life. In “Lucia,” it represents the passages that we go through when things go wrong. It is our means of escape.

The film is a joy to watch. Aside from the beautifully-shot sex scenes, the cinematography by Kiko de la Rica is done flawlessly. You can feel the emotions that the writers want to convey by simply watching the wide shot of the vastness of the sky. The sun brings hope. When its bright rays shine, the characters are filled with the desire to do the things that must be done. The moon is the epitome of passion. It establishes the romance that brings the movie to life.

The film is not about mere sex. It’s about an island. This island is likened to a floating raft. It metaphorically floats on the sea and moves with the gentle waves. It symbolizes the complexities of life. And the clash of fiction and reality is done to move the plot at all sorts of direction.

Lucia is the key that unlocks the door, making the unity of the three major characters possible. The connection between the three, no matter how tangled up it can be, somehow manages to become clear by the dramatic combination of reality and fiction. The Mediterranean island is significant because it is where the three are brought back together by the hands of fate.

Overall, Sex and Lucia is a visually striking and unforgettable film. It allows us to think. It has the unique ability to connect with the viewers and it has the power to stay with them. The movie instills the values of love and forgiveness. And it teaches us the courage to stay strong no matter how complicated life can be.

Unity of Duality – Swimming Pool Review

Francois Ozon’s Swimming Pool is a thought-provoking thriller that delivers the necessary surprises and complexities to leave the viewers baffled. Unpredictable and sexy, this well-made film will try the patience of the average viewer. But the slow pace has a particular purpose – to set the mood, introduce and develop the characters, and provide subtle symbols and themes for interpretation.

The character-driven film brings us to the world of British crime novelist Sarah Morton (Charlotte Rampling) who is suffering from writer’s block. Her publisher, John Bosload (Charles Dance), offers her a stay in his upscale house in France for her to unwind. She agrees with the suggestion. The beauty and tranquility of the house prove to be effective as Sarah begins typing her new novel. However, the unexpected arrival of someone who claims to be John’s daughter, Julie (Ludivine Sagnier), shakes things up, much to Sarah’s dismay. Their interaction leads to a series of events that climaxes at a murder that can either be real or fictional.

The director saves the best for last as an unforeseen twist ending confuses the already confused viewers. In my personal point of view, Julie never exists as a real person. She is basically a figment of Sarah’s imagination. Sarah is alone during her stay at the house. What we see is the depiction of her creative process. And while writing, she also experiences a personal transformation that changes her life forever.

Sarah and Julie are exact opposites. The former is prim, uptight, and reserved. The latter is wild, reckless, and sexually-active. The exciting part is how the director uses subtle symbols and motifs to represent both characters. Sarah arrives at the house in a blue car. Julie arrives in a similar car but a red one. Sarah stays in the blue room while Julie stays in the red room. When Julie arrives, we see a single red flower in the garden the following day. A lot of repetitive shots of the characters’ reflections in the swimming pool or in the mirror are shown. They represent not only what the characters see when looking at their reflections but also how they see themselves. They question why their reflections don’t reflect who they are underneath.

Julie is the type of character that Sarah longs to be. She desires to enjoy life’s pleasures freely without being ashamed. Considering her age and personality, she has a problem of getting in touch with her sexual side. By creating the fictional Julie, Sarah manages to overcome her uneasiness and manages to do the things she fantasizes about. From a sealed swimming pool, she becomes a free ocean. At the end of the film, she wears the red robe signifying the unity of her personality with that of Julie’s. Her published book has the title “Swimming Pool” in red letters with a blue background. And as she waves goodbye to Julie, you can observe how synchronized their arms are. It’s as if they are each other’s reflections. The theme is duality and Sarah finally conquers her personal struggle.

Out of the films we’ve seen in Hum 3 class so far, Swimming Pool is easily my personal favorite. I admire its simplicity. It’s unique and unpredictable. And it allows the viewers to exercise their observation skills. Both actresses are perfect for their respective roles. I also commend Philippe Rombi’s haunting musical score. I highly recommend this film to those who enjoy interpreting. The symbolisms here are truly well-constructed. And the film has a high rewatch value even after knowing how it ends.

Lust at First Sight – Juana la Loca Review

Vicente Aranda’s Juana la Loca tells the intriguing story of the life of Queen Joanna of Castile (Pilar Lopez de Ayala). The film is an ambitious mess as it attempts to portray the titular character’s madness without giving ample time to fully explore her already ambiguous personality. As a result, the audience never seems to connect with her nor care about her.

The year is 1554 and the place is Tordesillas, Spain. The film begins with an old woman mourning the death of her husband. This old woman turns out to be our protagonist, Joanna. And she begins narrating her story as the third daughter of the Catholic Monarchs Ferdinand II of Aragon and Isabela I of Castile. Going back in 1946, a young Joanna leaves Spain as she heads to Flanders to marry the Archduke of Austria, Philip (Daniele Liotti). The arranged marriage ignites the flames of passionate emotions as both characters become attracted to one another. It is lust at first sight and they begin engaging in sexual activities despite hardly knowing each other. Unfortunately, the sex scenes are badly made. They are supposed to establish the passionate relationship between the characters but they are neither passionate nor engaging to watch.

Joanna soon develops an obsessive, if not dependent connection with her husband. More often than not, she is the one who initiates the lustful deeds. And every baby she delivers results to the death in her family. It is an irony that symbolizes the dark fruit of their licentious acts. Life hits her harder as her sanity is being questioned by the people around her including her unfaithful, philandering husband.

I admire the way the film sets the mood. For one thing, the detailed costumes being worn by the characters symbolize not only their status and prestige but their current emotion towards certain situations. A perfect example is the black dress that Joanna wears whenever she feels grief. The film also combines mystery with intrigue, allowing the events to flow like water from scene to scene. Joanna possesses the necessary believability to elicit her madness in a manner that grows as the film progresses. As the story unfolds, we begin to question the love between the two primary characters. Is there even love at all? Whether or not it is intended by the writer, I can’t help but ask such question because very little is done to develop the depth and breadth of such characters.

The underdeveloped characters are easily the weakest elements of the film. I feel alarmed by the absence of sympathy towards Joanna when her passionate obsession leads her to madness. She is written as a manipulative character who believes that you can’t be in love if you aren’t jealous. In today’s world, jealousy may hint that we have certain feelings for a certain person. However, equating it with love is a different story. As for Philip, he is a completely unlikable character who only works as a mere plot device to drive Joanna mad and nothing more. When he dies, a viewer will feel nothing because there is no emotional connection.

Overall, Joanna la Loca is a middling effort. It has the potential to be a great film by having a strong heroine that people can look up to but it falls short because it is poorly written. There is nothing spectacular about it. It is a bad story told in a bad way. Why do they bother making a historical drama film if the characters lack depth and substance? Even the decent musical score can’t save the film from mediocrity. This film doesn’t earn my recommendation.

The Woman Behind the Boy – Malena Review

Giuseppe Tornatore’s Malena is an unusual combination of ambition and humility. It attempts to reach for the sky but the film elements are noticeably subtle and low-key. While the fusion of humor and tragedy does not perfectly work scene after scene, the film possesses an Italian comedic style and the unique charm of an adolescent’s infatuation with the titular character.

The year is 1940 and the place is Sicily, Italy. The beautiful newcomer Malena Scordia (Monica Bellucci) is anticipated by a group of adolescent boys. One of them is Renato Amoroso (Giuseppe Sulfaro), the film’s protagonist. As Malena walks by, every man’s head turns in awe while every woman’s mouth chatters in disgust. The adolescent group of girl-watchers lusts for Malena but Renato, the only boy in the group who still wears a pair of shorts, views Malena differently. To him, Malena is more than a mere eye-candy. He thinks of her as the girl of his dreams whom he must protect at all costs.

Italy enters World War II and Malena’s husband leaves to serve the military. Soon, Malena hears the tragic news of her husband’s death. She copes with the sudden loss and remains faithful to her husband despite the hostile atmosphere that surrounds her. With his new bicycle, a symbolic object that brings him to the girl he loves, the obsessed Renato secretly follows Malena from place to place. As a result, he is the only person in Sicily who truly understands the silent and mysterious Malena. He witnesses her grief and feels her pain. And he dreams of being by her side when no one is there to comfort her. To make things more complicated, a fraudulent letter destroys Malena’s relationship with her father. The war becomes worse and Malena’s father is killed in the process. Unfortunate events continue to plague her life as she is accused of having an affair with the local dentist. She is acquitted but at the price of her human dignity. With no money to sustain her daily needs, she is forced to become a prostitute. She even prostitutes herself to the German army. The idea of her giving pleasure to the enemies leads to her public humiliation in the hands of angry women who mercilessly beat her when the war has ended.

Malena functions more as a plot device than a fully fleshed out character. Her beauty is depicted as a curse rather than a gift. And this curse is the vehicle that actualizes the plot. Her beauty inflames Renato’s love. Her beauty seduces the men and angers the women. Her beauty brings her from one injustice to another, leading her to prostitution and eventually to her tragic departure. The ant being burned under the magnifying glass is a personification of Malena as it foreshadows her degradation.

Renato is our story-teller. Through him, we see how the story unfolds. The director uses repetitive imaginary sequences to emphasize how Renato keeps on thinking about Malena. It is his coming-of-age tale and it is through his deep connection with Malena that he develops into a man. His short pants during the earlier part of the film symbolize his innocence and youthfulness. As he witnesses the harsh realities of life and becomes mature, he undergoes a symbolic shift to long pants to signify his manhood. Now that he has grown from a boy into a man, his courage is put to the test as Malena is wrongfully treated. The themes of unrequited love, maturation, and courage beautifully resonate at the end of the film.

On the film’s technical side, I applaud Lajos Koltai’s cinematography. I admire the beautiful shots of the sky and the sea as Renato writes what he feels. I also commend Ennio Morricone’s beautiful score. His music perfectly captures both the lighthearted and the tragic moods of the film. As for the sex scenes, they are done aesthetically. Overall, while it isn’t able to thematically balance the comedy and the tragedy, “Malena” is an emotionally satisfying film. It paints two clear pictures: an adolescent’s love and how it molds him to manhood, and the harsh social realities that people experience in today’s world. I highly recommend this film to those who enjoy films with a character experiencing growth and personal development.