Director: Andrey Zvyagintsev.
Starring: Vladimir Garin, Ivan Dobronravov, Konstantin Lavronenko, Natlaya Vdovin, Galina Petrova.
Production: Ren Film.
Distribution: Lucky Red.
Year: 2003.
Length: 105 '.
grew up with her mother and grandmother, Andrei and Ivan did not see his father for 12 years. Him in the house is forbidden to speak and even his image is reduced to the memory of a rumpled old family photo of the two children kept as a secret treasure. But one day his father reappears out of nowhere, and without solving the mystery of such a long absence and resumed command of the family. To renew the relationship with the children decided to take a trip with him on a desert island with no apparent purpose and wild. On the return trip, however, only two.
Perfect balance between the simple story of family and exemplary story, The Return, the Golden Lion at the Venice Film Festival 2003, goes straight to the heart and gives the viewer a vertical range of readings, all equally plausible and meaningful. That the father is not only a father, For example, you can tell from the first appearance on stage, modeled on the famous composition by Zvyagintsev of the Dead Christ by Mantegna. Other details, however, seem to suggest an interpretation of the biblical or otherwise primeval movie. The breakdown of the story within 7 days of the week, marked by special titles, it draws the story of the creation of the universe in the book of Genesis and the absolute lack of geographic or temporal references suggests the nature of the island, whose only "contamination" is represented by a disused military tower, as the archetype of the place left by humans: the Garden of Eden. Will also contribute to strengthen the attitude polar vision of the children: Andrey embodies the Faithful, who believe that there is no need for anything but the image (icon) and the word (verb) the father, but Ivan is the skeptic, the one that is who must find reason in why submit to the authority of his father. It should be emphasized, finally, the Unbreakable inscrutability of the parent who gives orders like a God, that rules and puts the children to the test without providing any kind of explanation. But a father is good or bad that Andrey and Ivan suddenly find themselves in the house? It is not clear. Zvyagintsev supplies the character's ambiguity until the end of providing both occasionally vague clues that will touch the viewer then draw in a final filtered by several questions. Because you can not talk about his past? It 'been in prison? And digging up the treasure chest that contains the island thing? Given the dimensions might contain gold or money, perhaps the spoils of a robbery. E 'then a bandit, a negative hero? E ', however, plausible that intends to use that money for the family. E 'therefore a positive hero?
If the latter, as it seems, was the proper perspective, then Zvyagintsev would force us to go back and review the film in a new light, very different indeed from the cold and metallic colors of the sequences that prior to the trip to the island. His father is only a man who knows he has lost 12 years and having to teach older children already live now. He decides to take them with him during a trip disseminated as in the tales of mishaps, accidents and obstacles of all kinds. For this reason, then, when Andrey and Ivan are robbed, the father does not intervene merely to scrutinize the behavior of the children from behind a window. For this storm makes them under the rowing until exhaustion. That is sometimes abandon them, leaving them alone and without guidance. Its role is therefore the most thankless: subjecting children to such hard evidence exposes him to the resentment of the child and an inner struggle that has no hope to see the fruits of their labor. Consistent with Freud's theories in fact the transformation of the adult child can not move from the extreme sacrifice of his father. Only after the tragic inevitability of his death because Ivan will be able to call his father "Dad" and Andrey to find ways to carry as heavy body immensely to the shore and then to drive the car all the way back. The return to this very word has finally led to a long series of puzzles by Zvyagintsev embedded in the film, one of the most beautiful, moving and intelligent in recent years. Would be a lot to say, for example the use of depth of field, the inner triangle jump into the scene and continue to focus between foreground and background, but adding more would only serve to reveal too much of a movie in the casket of the unsaid holds the key to its charm and its mystery.
review of Alessandro Montanari
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