Youth
is an artistic production by the poetic writer/director Paolo Sorrentino (The Great Beauty), who reminds of fellow
Italian Federico Fellini in his imagery and talent for making what normally
seems ugly into something of beauty and interest. In this film, aged as well as young bodies are presented;
wrinkles, potbellies, sagging breasts, gorgeous shapely figures, crippled,
handsome—all are dished out liberally without photographic judgment.
But the film has points to make, lots of
them. Points about physical and
mental aging, fathers and mothers—especially fathers—cinema vs. television, how
we come to understand the world and people, desire vs. apathy, regret,
fidelity, and decisions to make about endings. All the characters seem to be in turmoil (except perhaps the
meditating monk), captured eloquently by the cacophony in a cuckoo shop where a
character has gone around and turned them all on at once.
The setting is an elegant old-world hotel in
Switzerland where many of its guests have been coming annually for years. Fred (Caine), a famed orchestra leader,
and Mick (Keitel), a well-known movie director, are old friends who voice much
of the film’s sentiments about aging and perspectives on their own lives. They trust each other up to a point;
that is, “We only talk about the good things.” Yet, they do explore certain regrets and disappointments and
Fred desperately wants to know if Mick ever slept with a girl they both
loved. Fred’s daughter Lena
(Weisz) is married to Mick’s son Julian (Ed Stoppard), which makes another bond
between them. Each is subject to
pressures coming from the outside.
The Queen of England wants the reluctant and apathetic Fred to conduct
his famous “Simple Songs” for Prince Philip’s birthday celebration. Mick, ever the optimist, is trying to
get his movie Testament off the
ground and is waiting for its star Brenda (Fonda) to arrive and producers’ go-ahead to start filming. He and the screenwriter still have to
come up with an ending, though.
Youth
is made in the European style of slower pacing, philosophical discussions, and
subtle humor, metaphors, and allusions, which make it a film well worth seeing
multiple times. It’s full of
surprises as characters behave in unexpected ways, yet remains firmly grounded
in reflecting real dramas.
Caine and Keitel are masters at what they do
and keep us thoroughly captivated as they talk about their lives. Weisz as the daughter of Caine’s
character has the greatest emotionality to convey, and it’s engaging to hear
her perspective of her family life growing up contrasted with her
father’s. Fonda has a wonderful
cameo as an aging actress turning the tables on her director in years of
films. Since the actress is known
for her smooth skin and physical fitness, it’s fascinating to see her in this
role.
Sorrentino’s colleagues in music (David Lang)
and cinematography (Luca Bigazzi) measure up to his creativity and excellence
in their own specialties. All
three have produced a comprehensive production that merges the disciplines
seamlessly into a work of visual and auditory art.
Go on vacation to an opulent hotel in
Switzerland where you will be entertained with intelligent conversation,
fascinating stories, and spectacular landscapes, all accompanied by delightful
and entrancing music.
Grade: A By
Donna R. Copeland
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