Director: Gianni Amelio.
Starring: Kim Rossi Stuart, Andrea Rossi, Charlotte Rampling, Pierfrancesco Favino.
Production: Enzo Porcelli.
Distribution: 01 Distribution.
Year: 2004.
Length: 105 '.
Gianni and Andrea do not know. Breakfast together in the dining car of a train that will take them to Berlin, where there is a special clinic in the treatment of childhood disabilities. Andrea knows who is that handsome, shy and awkward sitting in front of him. They told him 15 years before he fled away, without even wanting to see. And perhaps he also told the party's unfortunate that it has crippled the world rapendogli mother. But the question shaky Gianni "You know who I am?" Andrea replied with disarming candor of all it is capable of, "My father." In his heart, just differently abled than the so-called normality, there is not even the rancor and distrust of strangers warmly fuzzy confidence. And so, the trip to Berlin and then again in Norway, Gianni and Andrea will be born a again becoming what God or nature had decided that they were: a father and son.
Loosely based on the autobiographical novel by Giuseppe Pontiggia (Born Twice, Mondadori, 2000), The Keys to the house is a small poster of the film by Gianni Amelio, the only Italian director in a position to abandon the technique without losing the author's own imprint. Very matured since the start, the film Amelio has developed its own stylistic essentiality in rigorous and austere appearance that enhances the inherent vitality of a "tell" for humanity and spirituality that recalls the great nineteenth-century literature. Amelio's gaze is focused on the person. His film does not tell just "stories" rather than "human beings". Human beings in search of other human beings. Many have approached the house keys in The Stolen Children, to blaming Amelio constant repetition of the same themes and narrative solutions. They have, however, forgot to add to the list also films such as Blow to the heart and Lamerica where the dramatic tension was all concentrated in the unresolved relationship between fathers and sons or not. The simple truth is that Amelio, like all those directors who call the authors felt that the film as honest, the only possible, it is one in which strips themselves and their drama unresolved. And this is the root of living, private conflicting and often painful that the public felt in films that make you feel your heartbeat strong and vital that the critic should consider stages of an existential journey, variations on the theme. To those who wondered if dishonest do not think the audience laugh or cry using childhood, Truffaut answered no sure if these same sequences were first made you laugh or cry even those who staged. E 'for this reason perhaps that the handicap can meet Amelio using a child actor in the disabled without stumbling or slipping into stereotypes pietism. The grace of man becomes so sensitive feel of a director who decides to disappear behind the camera to allow for creativity the breath of the actors in a film that is made of the silence of Kim Rossi Stuart, Andrea Rossi of the wild spontaneity of the tragic mask and Charlotte Rampling. The keys of the house is their film: a film of men, women and children rather than actors, a film of glances rather than words, small gestures and large operations. There is a moment in The keys to the house where it all boils down to a sequence of rare emotional intensity. After taking a bath tub embraced by the hotel, have lunch with his son Gianni found. Andrea plays to take the father repeating "which is too dry." John laughs, cries and caresses can be stronger than that son who speaks to him from his father. In the frenzy of his hands is the impossible desire to return in a moment 15 years of missed strokes. The immediate feeling is that the whole movie is in this scene and that the whole script has been built to get in that room at that hotel, at the time. It probably is. The plot suggests that perhaps too linear for a couple of writers such as rollers and Petraglia that they are obviously knowing that I have held then put the script in the hands of a champion in just one shot focuses pages and pages of unspoken and, perhaps, unspeakable. Writers
passing his hand to the director. A director who leaves the field for the actors. Actors who does not require acting.
's funny how sometimes the film can also arise from the denial of himself.
review of Alessandro Montanari
