The Lying Life of Adults.

 

Italians are not like us. Their world view and sensibilities are different. This is one of the main reasons this new six part television series so engrossing to watch. It follows the life of an emerging teenager Giovanna magnetically played by Giordana Marengo.  As the surrounding comfortable life she has been living with her middle class Neapolitan  family begins to come into an increasingly unpleasant focus. Moody and irritable she appears to have no focus of her own. The catalyst for the beginning of her new awareness coming when she eavesdrops on a conversation her parents are having about her, Mainly centering on her failures in school and her unappealing nature. Hearing the alarming realization by the father she adores that he thinks she might be taking on not only the physical  but mental characterization, his is estranged and despised sister Vittorio, a woman she has never met, Wonderfully played by Valeria Golino.  Upset by what she feels is her parents real unfiltered opinion of her is  she retreats to her friends with this revelation of ask if they think it is valid. After a series of machinations her father in an effort to rekindle his daughters trust agrees to take her to see his reviled sister. Despite a hostile initial meeting Giovanna eventually warms up to her on subsequent visits and her free spirited amorous world view, mainly because of its contrast to the one her parents have created and are living in. This tale is lengthy and sometimes looses its way with side stories especially in episodes 4 &5, but never its mission of Giovanna's passage.  The final episode regaining its footing. 
It’s worth mentioning that the 3 1/2  minute opening sequence in episode 4 with its reverse action clips is startling in its own right.  Even if this is not an original subject. It  a great story told in a engrossing way, a terrific cast lead by the aforementioned Giordana Marengo and deftly directed by Edoardo De Angelis  from a story by the gifted celebrated writer Elenor Ferranti  

 500 stars.          Netflix

 

 

 

 

                                      

 

The Banshees of Inisherin

On the face of it I wouldn’t have thought the Irish have much in common with the Swedes. But the first 30 minutes of this bleakly morose tale could have been directed by the master of gloom   Ingmar Bergman.
The story revolves around two men living in a tiny village on a remote island off the west coast of Ireland in the 1920’s.
The two protagonists are superbly played by Brendon Gleeson (Colm) and Colin Farrell(Pádraic).   
Colm the elder of the two decides to break off their friendship
he has found to become stifling, to the unending mystification of the younger Pádraic, who cannot see the reasons for the rift due to the limitations of the world he inhabits, even after its is explained to him numerous times by various people in the community. This is at the crux of this tale.
Colm finally resorting to drastic means in order to convince Padraic he wants to be left alone does nothing to deter him.
Being Irish men in the early 1920’s with no twitter, facebook or video games, only a landline and Guinness to lubricate their communication, it’s no wonder that even with brutal tactics from them both  there is no solution to their dilemma .
On the plus side it is a tribute to the acting skills of the two leads as well as the direction by Martin McDonagh spare and powerful it is, that this film of nearly two hours can hold you attention until the end without any modern trickery. The scenery is breathtakingly beautiful at every turn, even the interiors.
This is an old school film in which actual on screen talent carries the entire project aloft.  
A musical comedy this is not, but you knew that.    198 stars     HBO MAX

 

 Tár

In which Cate Blanchett plays Lydia Tar a world famous conductor at the pinnacle of her career, trying to negotiate the shifting sands of fame and celebrity. Aloof imperious autocratic ruthless in her self preservation, except to a favored few intimates and even these relationships are transactional. It is one of these relationships and its tragic ending that precipitates her downfall. Kept in power by her musical gifts and and fawning political supporters. A dry lifeless and overly long film. Supported by equally sterile visuals. Almost completely devoid of the emotional powers that she urges her students to bring to their musical efforts.  
Ms Blanchett plays her character with expert ease. Unfortunately her character does not generate any sympathetic empathy when her eventual inevitable downfall with its comic ending occurs. Which might be the point.  Nina Hoss and Sophie Kauer give notable performances. Director Todd Field  (In the Bedroom; Little Children) could  have taken 40 minutes out of this 2hour and 38 minute marathon without any ill effect.
Mahler would not have been happy  46 stars  (20 to Ms Blanchett)         Peacock TV

 

 

 

 

 

 

 

 

 

 The Menu

 

A brilliant satire on the exclusive high end foodie world. In which a group of so called connoisseurs and celebrities are ferried to a private island to sample the latest offerings of a renowned chef, masterfully played with evil glee by Ralph Fiennes.  The foodie glamouristas eventually get sucked into much more than they bargained for.  Only one guest who was a default invitee, rebelliously played by Ann Taylor-Joy rises above  as well as adding to the eventual mayhem, cheeseburger in hand. The invisible deft direction (the best kind) by Mark Mylod strengthens the impact of the film. All the supporting cast are all worthy and clever. There is a distant glancing homage to Louis Bunuel's 1962  masterpiece Exterminating Angel.
Brilliantly written with enough unexpected turns and drama to keep the pasta on your fork from ever reaching your mouth.

250 stars    HBO MAX