Director: Mario Martone.
By: Michele Placido, Fanny Ardant, Giovanna Giuliani.
Production: Mikado, Biancafilm.
Distribution: Mikado.
Year: 2003.
Length: 98 '.
As more stagnant in their career as a writer uncomfortable and war correspondent, Charles takes refuge in the farmhouse where he leads anything but incognito in a parallel relationship with Lu, and androgynous young lover who usually called "my boy" . In Rome, an apartment in order and sterilized by the hundreds of books to be carried from the walls, is Silvia, the charming wife of whom had no children and has accepted, if not shared, the interpretation given libertarian by her husband at their wedding. The pervasive feeling of loneliness and beauty of the gradual fade in slide monotonous days Silvia push comes to sex found in the rough attentions of a young man known for an illusionary way explosion of vitality. Sniffed the emotional involvement of his wife, Charles was attacked for the first time since the most hated and bourgeois sentiments, a fierce jealousy, almost pathological, yet has the clairvoyance to foresee the fatal end of an emotional disorder so carelessly indulged. Talent
extraction and training exquisitely theatrical Mario Martone down with some frequency even in the arena of film to compete with preference subject of very high concern (Death at a Funeral, 1992; Love harassing, 1995). Therefore understandable interest in the smell of blood, last novel, among other things unfinished, Goffredo Parise, author of the least affected and conciliatory in Italian literature. The text, conceived as an outlet for free personal and liberating, had many elements that could undermine the foundations of a successful film adaptation: the implosion of the intimate el'autoreferenzialità tell Paris, the literary dialogues, the roughness of the situations and Carlo investigation of the obsessional character of sexual behavior with the young wife lover. Martone approaches to written text with great respect, however, decided to preserve the frontal impact that had on players at that time. The only license that you grant the Neapolitan in the difficult work of implementation lies in the repechage of the story of Rome from the aquarium ultra-ideological the years of lead. In compliance with a custom built theater Martone directed on intimacy of the two main characters, Charles and Sylvia, his eyes widening then so not to speculate with their lovers. If Lu is in fact widely introduced to the public that recognizes it as an actor and independent, the young mistress Silvia and rude is not shown even once. The choice, cinematically very happy, therefore, we need merely to evoke the character to give it the consistency of the air, ubiquitous ghost who actually lives in the obsessions of Charles, who, without realizing it, pours rival in all the distance that separates him from the ideological and generational change in course. The excellent performance of the hallucinations of Charles, declined as a "reality in reality" that is, without any recourse to the vocabulary of the narrator or clichés of photography dissimilar (over-or under-exposed), filling at least a couple of slips where Martone is We believe in being committed to writing and staging. Silvia, for example, is often repetitive and expressions he uses to defend itself from attacks by the husband (Nothing exclusive) or to justify the burning attraction for a boy whose mother may be (He's the cult of force) that expire in redundancy, as we know, the enemy is the sum of the writer. Finally, the abuses Martone quote. If the reference to physical and psychological Desert Antonioni (Zabriskie Point, 1980) triggers a fertile suggestion, the references to The Lady Next Door (Truffaut, 1981), and there seemed to grasp but we make mistakes, and the recent bad Fatal Gaspard Noe appeared in the first case a courtesy to the host (Fanny Ardant) and the second an ominous but cleverly disguised attack of laziness. Set on a strictly singular and male perspective, The smell of blood and harsh tones describes lewd Freudian tragedy of a man overwhelmed by his rival's virility fit into the larger context of a moral parable without any side effects of indecent liberties that so sublimely sung by Renato Zero (Look for me in Love After love, Fonopoli, 1998).
Review by Alessandro Montanari
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