Don't Move ( Non ti muovere ) ( Do Not Move )

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E poi, scavare una fossa di una terra sconosciuta e depositarvi gli ultimi resti di una storia sbagliata, questo fa Timoteo che decide di riportare alla luce quanto nascosto quando Angela, la figlia nata dall’aborto di un figlio maschio di un’altra donna più amata, subisce un’operazione che la tiene in bilico tra la vita e la morte, tra restare e andarsene. Non ti muovere, Angela. Resta qui. Lascia che almeno a te Timoteo possa raccontare la storia di un amore vile come un coniglio, bastardo e senza gloria, ma talmente innamorato che non si può fare che giustificarlo, perché l’amore passa sopra ogni cosa e col suo passo distrugge tutto il resto. Manda tutto in frantumi. Note: Penélope Cruz' character Italia is, if at all comparable to Federico Fellinis work the legitimate continuation of Giulietta Masina's character Cabiria from "Le Notti di Cabiria", not Gelsomina from "La Strada".

E mentre leggo, scorgo qualche piega del precedente lettore, le classiche orecchie che io non farei mai, due, tre forse, a scandire il ritmo di un lettore, o i di una lettrice che ha letto in fretta come me, cento pagine alla volta, magari cento per giorno, in fretta come me, e che infine ha barattato la storia. Lo stile è semplicissimo nella sintassi, tante coordinate, periodi brevissimi arricchiti da più complementi oggetto separati da virgola, e senza troppe regole, (si tratta di un lungo racconto, ma a volte le varie scene sono scritte al presente, a volte al passato, senza che riuscissi a capirne la logica). Ci sono tanti esempi di indicativo, nonostante il verbo di opinione richieda di solito il congiuntivo (non usarlo indica arroganza in chi parla), che a volte mi hanno fatto rabbrividire e che in un tema scolastico di italiano sarebbero senza dubbio considerati errori: “Non so di cosa deve aver paura”, ad esempio, anche se in questo caso specifico potrebbe avere un senso. And what about Sergio Castellitto himself? This extremely charming and intelligent man has been an acting God for more than twenty years here in Italy; he's an uncanny mix of subdued and brainy acting, total sincerity, powerful emotions in display, instant ability to deeply inhabit any character ... and despite his 50 years of age (he's 20 years older than Penélope), they are absolutely MORE than believable as a mismatched couple of lovers who're overwhelmed and bewildered by a passion which they can't explain, not even to themselves. Like I said above, they share a burning-hot chemistry, which is not only a sexual one but a sentimental one as well. Non Ti Muovere centers around a man who rapes a woman (because he drank a bit too much?) and then, it seems, because of her predisposition to masochism after having been raped by her father as a young teenager, he is able to begin a sexual relationship with her. Meanwhile, he is married to a woman who is not only beautiful, but quite caring towards him.

But Mazzantini has succeeded in bringing this daring novel to a good end. And she does that in the first place through a flawless composition: the various storylines are spread in an intelligent manner and the curve of suspense remains permanently 'under current', making you keep reading. A second strong point is the impressive look into the human soul, specifically that of main character Timoteo, the successful surgeon who at a dramatic moment in his life confesses a crucial misstep, in a monologue spread over almost the entire novel. Initially I was skeptical about that confession, because it is about the intense, adulterous relationship he had with an ugly, sloppy woman whom he had first raped; that does not sound really credible, and on top of that the passive, subdued attitude of the mistress herself seems troubling. But as you go into the story, Timoteo's figure gains complexity and the humanity, or rather the small humanity, of this seemingly successful man becomes very tangible: his inability to really stand in life, to give and receive real love (also with respect to his daughter). Finally, Mazzantini has a stylistic ability that regularly approaches the poetic register and can give painful depth to both dramatic and banal situations. however, just so the hero (and audience) can walk away with a clean conscience, in the parallel story, the hero's daughter survives. and so, like magic, you have a happy ending. morally despicable, yes. like a cheaply bought absolution for a medieval murder, it wreaks of a fundamental decadence of the soul. During this time, Timo begins a long narration of his past and of the affair he had around the time Angela was born. Timo consigns his ‘truth’ to Angela in the attempt to exorcise her death. His narration immediately takes the form of a confession as his affair, fifteen years previously, had begun with a rape. Mazzantini was born in Dublin, Ireland to Carlo Mazzantini, an Italian writer and artist, and Anne Donnelly, an Irish artist. She has three sisters (one of whom is Giselda Volodi). She spent her childhood around Europe, Spain, and Tangier, until the family settled in Tivoli. In 1982 she graduated from the Academy of Dramatic Arts in Rome. A doctor who has become the world's biggest pragmatist finally encounters a woman who takes away everything he once thought mattered.

La sceneggiatura del film è tratta dal romanzo omonimo scritto da Margaret Mazzantini, autrice e moglie di Castellitto.

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As for myself, well, after two days I'm still re-living all the marvelous, emotionally intense moments which I enjoyed while watching this movie. OK, perhaps that's melodramatic, but such melodrama has nothing on this book. The book tells the story of a doctor whose daughter is in an accident, but most of the book is about the doctor screwing this person that both he and the reader find despicable. Well, actually, first he raped her, but then he continued to screw her for reasons that are never really established. This woman, Italia, is a real catch. "She breathes through her mouth; her breath is like a rat's breath...Her eyes with their dark shadows look huge; they dart about under her eyebrows like two imprisoned insects." Later, she has "dismal breath...like breath from a decaying body, like the breath of patients when they wake up from anesthesia." There are tons of these descriptions through out the book, of this woman and her depressing apartment, but yet the protagonist is drawn to her, seeking the dark portions of himself, perhaps, or seeking something in her that he does not get from his wife. in short: truly a wretched film: dishonest, ambtious, pretentious, pseudo-intellectual. i suppose if you're a lapsed catholic with vague leftist leanings and no real intellectutal or moral spine--and suffering a life long existential crisis-- it might appeal.

Just to get an idea of her greatness in this movie, here are actor-director Sergio Castellitto's words at the press conference for the movie, which took place in Rome on March 9th: Kontrastu un skumju pilna grāmata par eksistenciālām lietām, kuras ienāk mūsu apziņā, kad atrodamies dzīves krustcelēs. Autores valoda ir fantastiski skaista un Daces Meieres tulkojums izcils! Tādēļ šo grāmatu noteikti iesaku izlasīt. Bija rindkopas, kuras pārlasīju vairākkārt. But there is a lot to enjoy here and a lot to think about afterwards. It is the sort of movie that you should see once and could see a number of times to get all the angles. A parte l'impatto stilistico iniziale, che poi fortunatamente va scemando, o forse sono io che mi sono abituata, la storia e i personaggi mi hanno preso, nonostante ripeto alcuni momenti di odio puro. Forse perchè erano momenti troppo forti, e disturbanti, che mi hanno urtato, facendomi quindi odiare il libro. Forse non era il momento giusto per leggerlo. Questa storia d'amore intensa, viscerale, da far male per me è stato troppo. Leggere i pensieri di questo uomo, le sue brutture, mi ha fatto torcere le budella. Non volevo immedesimarmi in lui. Per nulla. Per questo dico che non era il momento per me di leggerlo. Però capisco il perchè del suo successo. Il bello è proprio questo turbinio di emozioni, che si provano insieme al protagonista, e che lo portano a fare e dire cose che non avrebbe mai fatto, nel bene e nel male. Just saw this film at a local Italian Film Festival and it easily was the best film of the fest, and one of the best movies I've seen all year. For adults only, but worth the watch when and IF it ever comes to the USA (wake-up acquisitions people!!!)Don't Move ( Italian: Non ti muovere) is a 2004 Italian film directed by Sergio Castellitto. It stars Penélope Cruz, Claudia Gerini, Angela Finocchiaro and the director himself. Both Castellitto and Cruz received critical praise for their performances, as well as several awards, including the prestigious David di Donatello. It was screened in the Un Certain Regard section at the 2004 Cannes Film Festival. [1] Plot [ edit ]