Posted on | August 3, 2010 | 14 Comments
Although I am no fan of Sean Penn, I found UP AT THE VILLA an interesting and well executed story. The protagonist is played by Kirsten Scott-Thomas, who demonstrates again that her strength lies in her ability to play a relatively honest and forthright woman who manages to get into one compromising situation after another involving fornication. Scott-Thomas’ character in VILLA seems to have a penchant for becoming involved with the wrong sort of man, and in spite of her comment that she is not likely to engage in the same foolish acts she committed when she was younger, she does exactly that. Supposedly, she acts as she does in part because of her attraction to Penn’s character, although as far as I am concerned there is no chemistry between them at all, so her statement rings hollow. This film is a thriller as opposed to a mystery. The only mystery is how can a woman who is so beautiful and smart do such stupid things? And yet, I cared what happened to her, so as she slipped down the slope, I hoped that somehow she would land on her feet. Whether she does or not is a matter of interpretation.
The setting of the story is a villa belonging to friends where Scott’s impoverished character has stayed while she visited nearby Florence, Italy sometime just before the outbreak of hostilities in pre WWII Italy. The set with whom she mixes is composed largely of British ex-pats and a few Americans-comparable to the crowd in TEA WITH MUSSOLINI-although we discover little about any of them except the princess. Anne Bancroft plays the “princess-by-marriage” who has a little dirt on everyone, and she isn’t afraid to use it in a crises. This attribute comes in handy because the princess has paperwork in her possession revealing the doings of one of the local officials-paperwork he would just as soon not see land in the hands of the new masters in Rome- those brown-shirt rogues who like order and efficiency and relative honesty in their underlings.
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August 3rd, 2010 @ 10:01 am
Some of us rely too much on movie critics for guidance. Villa de Roses is a case in point for me. Luckily, I hadn’t read the early reviews in advance. I tried this movie for no other reason than Julie Delpy. I had enjoyed her performances in the two “Before” movies with Ethan Hawke and wanted to sample her work in a different role.
On the surface, Villa was a variation on old themes. A needful, romantically vulnerable woman is left in the lurch by a free spirit who opts for status and largesse. When there is no going back and the man is facing oblivion, this former lover is left with profound feelings of loss. Another man, decent and needful in the same way as the woman, is on the sidelines barely noticed. We are left reflecting on what might have been if the right connection had been made. Each member of the larger cast of characters in the Villa is facing his or her own interwoven existential challenges. Their struggles are evidence that life is hard. One makes a point of this in his suicide note.
I gave this film four instead of five stars because of its unrelenting melancholy. It is a downer in the traditional sense and that is enough usually to put me off. But this movie is so vividly real, so true to life, it has to be appreciated. The “production values,” as a Hollywood commentator might say, are outstanding. The script is good, really good, but the directing and acting add the depth and subtlety that make the characters and events intensely recognizable and real. Julie Delpy was splendid in this different kind of role (as opposed to “Before Sunrise). Shirley Henderson was especially skillful in her part as the lead character’s caring friend. If there were nothing else to recommend, her performance alone made watching the movie worthwhile. The set, the lightling, the atmosphere — all were of high quality.
Anyway, sometimes it pays to take a chance on a movie. (A quote from my wife.) I have friends who won’t even consider a movie unless their favorite critics give it a good review. Following that strategy, I would have missed Villa de Roses. That would have been a shame. –Of course, it all depends on what one expects from a movie.
August 4th, 2010 @ 9:17 am
VILLA DES ROSES, based on the novel by Willem Elsschot, is a strange and claustrophobic examination of life in a confined space in Paris 1912-1913. Director Frank Van Passel has surrounded his production with excellent scenery, effects, camera work and a cast of gifted actors to tell this bizarre tale of Europe on the brink of The Great War.
Villa des Roses is a dilapidated mansion in Paris that serves as a hotel for an astonishingly seedy group of people. The hotel is ‘managed’ by a British man and wife Olive (Harriet Walter) and Hugh (Timothy West) who barely eek out a living from their irregular tenants. The one person apparently most in the know is Ella (Shirley Henderson) who is the Cook General and has access to all of the nooks and crannies via a spying system of tubes: she knows all the secrets of all of those housed in the Villa. It is an odd asylum for the British and for varied oddball, lost souls and disillusioned, loony guests in the midst of a rundown Paris.
Enter Louise Créteur (Julie Delphy), recently widowed by the Titanic sinking, who has left her young son behind to seek work in Paris. She gains employment at the Villa des Roses as the Chamber Maid, under strict instruction by Olive to not fraternize with the guests. But one of the tenants, Richard Grünewald (Shaun Dingwall) is a lady’s man and soon the two have started a love affair that leads to the tragic end of the story. Richard loathes children, is not at all happy that Louise has a son (though she vows to give up everything for her love for Richard), and when Louise becomes pregnant, Richard cools and encourages an abortion. Louise complies out of blind love only to return to the Villa to find that Richard must leave for Germany (when actually he is following the latest American guest in her transfer to a better hotel). Louise’s only confidant and friend is Ella and together they survive. Louise decides to go to Germany to ‘find Richard’ and on her way to the train sees Richard with his American paramour. Richard is called to military service at the same time Louise is boarding the train, a moment that proves to be the outbreak of WW I. How the story ends is tender and sad and best left as a surprise to the viewer.
Van Passel seems more interested in atmosphere of this magically strange hotel than he is in fleshing out his storyline. Oh, each of the characters is vastly interesting, but there is no background history on any of them that let us know why they had fallen into the sad mess of the Villa. But the performances by Julie Delphy, Shirley Henderson, and Shaun Dingwall are so fine that they maintain our attention and empathy. The strong supporting cast does as much as it can with the relatively little character development given them. The entire film is photographed in sepia tones that add enormously to the feeling of France on the brink of downfall.
This is a long film, highly dependent on visual imagery to keep it flowing, but a film with many messages about the world at the brink of war. Recommended. Grady Harp, September 05
August 5th, 2010 @ 10:05 am
UP AT THE VILLA illustrates the mischief one can get into when burdened with too much spare time.
Mary Panton (Kristin Scott Thomas), a widowed Brit whose husband recently died after squandering their fortune, blast his eyes, is residing in 1939 Florence. Chamberlain has just sold the Czechs down the Vltava, Mussolini is getting uppity, and war appears likely. Panton lives UP AT THE VILLA, the owners of which, friends of Mary’s, are away. Mary spends her idle time swanning about with fellow expats and contemplating the not entirely welcome offer of marriage recently tendered from the aging, but rich, Sir Edgar Swift (James Fox), who’s expecting any moment to be named the new Governor of Bengal.
One evening, Panton attends a lavish dinner put on by her friend, the Princess San Fernando (Anne Bancroft), which comes off swimmingly except for a wretched example of entertainment for hire by a refugee Austrian musician, Karl Richter (Jeremy Davies). Later, Mary almost runs the man down with her car, and subsequently invites him back to the villa for a meal. Feeling sorry for the young fellow’s miserable life, and wanting to show him a good time, she sleeps with him believing it’ll be no more than a one time tryst. But, he returns the next night and forces himself upon her while professing his undying love. After Panton rejects his advances, Richter kills himself with a pistol given by Swift to Mary for her protection in these unsettled times. So now, what’s a poor girl to do with an inconvenient corpse, especially as Sir Edgar is soon due back and anticipating her answer to his proposal?
UP AT THE VILLA isn’t a bad film so much as just unengaging. Panton is so imprudent and so lacking any real purpose in life that it’s hard to care what sort of predicament she gets herself into. The man who eventually bails her out, a rich and maritally unfaithful traveling Yank named Rowley Flint (Sean Penn), is equally undeserving of audience sympathy if for no other reason than the director didn’t develop his character enough. Is he a cad or a knight in shining armor? The local cop investigating Richter’s death, Beppino Leopardi (Massimo Ghini), could perhaps have achieved some viewer goodwill if it wasn’t for his SS-like black uniform and his unswerving allegiance to Fascism. Richter starts out with a boyish appeal, but swiftly loses it. Except for the well-intentioned and honorable Swift, there’s no one here to like, and stewing in their own juice probably serves them all right. For this fictional group of misfits, the war probably did a service by forcing them into something less frivolous – like survival.
If Panton calls me up offering a quick tumble, I might award more than three stars. I can be bought. Otherwise, UP AT THE VILLA has marginal merit.
August 6th, 2010 @ 9:23 am
Although I am no fan of Sean Penn, I found UP AT THE VILLA an interesting and well executed story. The protagonist is played by Kirsten Scott-Thomas, who demonstrates again that her strength lies in her ability to play a relatively honest and forthright woman who manages to get into one compromising situation after another involving fornication. Scott-Thomas’ character in VILLA seems to have a penchant for becoming involved with the wrong sort of man, and in spite of her comment that she is not likely to engage in the same foolish acts she committed when she was younger, she does exactly that. Supposedly, she acts as she does in part because of her attraction to Penn’s character, although as far as I am concerned there is no chemistry between them at all, so her statement rings hollow. This film is a thriller as opposed to a mystery. The only mystery is how can a woman who is so beautiful and smart do such stupid things? And yet, I cared what happened to her, so as she slipped down the slope, I hoped that somehow she would land on her feet. Whether she does or not is a matter of interpretation.
The setting of the story is a villa belonging to friends where Scott’s impoverished character has stayed while she visited nearby Florence, Italy sometime just before the outbreak of hostilities in pre WWII Italy. The set with whom she mixes is composed largely of British ex-pats and a few Americans-comparable to the crowd in TEA WITH MUSSOLINI-although we discover little about any of them except the princess. Anne Bancroft plays the “princess-by-marriage” who has a little dirt on everyone, and she isn’t afraid to use it in a crises. This attribute comes in handy because the princess has paperwork in her possession revealing the doings of one of the local officials-paperwork he would just as soon not see land in the hands of the new masters in Rome- those brown-shirt rogues who like order and efficiency and relative honesty in their underlings.
August 7th, 2010 @ 9:39 am
THIS IS AN EXCELLENT MOVIE, KRISTAN SCOTT THOMAS IS SUCH A GREAT ACTRESS.
August 8th, 2010 @ 10:10 am
A sumptuously filmed, delightfully old-fashioned, but ultimately rather insubstantial adaptation of W. Somerset Maugham’s novella of the same name. Mary Panton (Kristin Scott Thomas) must decide: does she play it safe and marry a stuffy Englishman (James Fox) for position and security, or does she follow her heart and take up with a charming but feckless married American playboy (Sean Penn)? A few days of melodrama involving sex, suicide and the menace of Italian fascism help make up her mind. The performances from Scott Thomas and Penn are solid, with Anne Bancroft, Derek Jacobi and Massimo Ghini delighting in minor roles, though Jeremy Davies is less convincing as an Austrian peasant. It’s probably worth seeing just for Maurizio Calvesi’s cinematography and Paul Brown’s production design – the lavish villa and the ripening tomatoes at the tennis club are a treat. But highest honors surely belong to special make-up artist Joan Giacomin who transforms the talented but rather rough-headed Sean Penn into a veritable `40s matinée idol. Penn continues to shine, in roles like this one, with remarkable versatility.
August 9th, 2010 @ 9:24 am
If there was ever a need for evidence that one great actor/actress cannot carry a mediocre film, “Up in the Villa” satisfies that need. Kristen Scott Thomas is asked to carry nearly the entire load in this film and she does marvelously; however, the story itself is pedestrian and the essence of stereotyping and cliché.
Set in Italy at the threshold of WW II, the film is the consummate exercise in pigeonholing. The Italian police are corrupt, brazen and supercilious; the European petty nobility are arrogant, easy to dislike and appropriately self-consumed; the lone American (Sean Penn) is hopelessly irresponsible, brash, superficial, cocksure and a borderline incompetent; and the innocent refugee (Davies, who is also great) is loveable, poor, misunderstood and eventually suicidal because of his adulation of a woman (Kristen Scott Thomas). The English gentleman is, of course, properly moral, quietly patrician and appropriately self-effacing when required.
Kristen Scott Thomas, Mary in “Up in the Villa,” plays the part of widow beset by many urges, ghosts, a spot of rebellion, not to mention some deep-seated personal insecurities. As only she can, KST pulls together all these facets with dialogue, delicate mannerisms and her copyright look – but in the end, even the writer must have been unsure that the story was carried, because, reiterating the boorish plot out-load falls to bare discourse between a now apologetic Mary (KST), and a suddenly (again) haughty Princess. Sean Penn plays the role of the American, but he comes off more as sort of amalgam of Fonzy and a mongrel pound-puppy. The stereotype of the American seems to be aimed at portraying the Euro version of a “strong silent type,” but he just comes across as an American looser – which, on second thought, may have been the director’s intent all along.
You’d think after devoting a couple of hours to watching this, that the writer would reward the audience with an ending at least worthy of the actors, if not the plot. Regrettably even the ending is weak, so weak in fact that when Mary wanders off with the American, who can tell whether it’s good, bad or if it even matters to them or anyone else. It amounts to sort of an “on the train” version of riding off into the sunset — but just looks like the director finally admits to being bored with the whole affair.
If you’re a Kristen Scott Thomas fan, see the film to watch a great actress at the top of her craft, otherwise your time may be better spent on other things.
August 10th, 2010 @ 10:08 am
I love this cd. We sang this in choir a few years ago and it was quite a lovely experience.
August 11th, 2010 @ 9:54 am
These works by Villa-Lobos are little-known, and rarely-performed. With one exception, the works on the disc are all a cappella. And while the St. Sebastian Mass (Missa Sao Sebastiao) is relatively austere, all the music on the disc is well-performed, and sounds simply beautiful.
I must point out, however, the one work for chorus and orchestra, the Magnificat-Alleluia that closes the disc. This is one of the most beautiful works I have ever heard, and it receives an incredible performance: even though it runs just seven minutes, it alone is worth the price of the entire disc. I definitely recommend this to fans of Villa-Lobos.
August 12th, 2010 @ 9:29 am
Often times Hamelin’s mammoth technique seems to take center stage with many of his studio recordings for better or worse. But this recording is very different, every phrase is carefully executed dynamics are tightly followed and he really lets the atmosphere of these charming works shine through. Don’t get me wrong this is probably one of hamelins finer technical displays and a glance at the terribly unfriendly scores will show as much but he seems to finally have tapped into a tonal refinement that matches his rhythmic accuracy. Not entirely unlike prime michelangeli. Also very very good recorded sound. This truely is one of the finest piano albums I have ever heard. Also watch out for some Schumann from hamelin which will be his next release. Fantasy in C, symphonic etudes and a grand sonata. I just don’t think its possible to top this though. absolutely wonderful.
August 13th, 2010 @ 9:58 am
I thought I knew it all about Marc Andre Hamelin. I’ve seen him in concert, I’ve purchased all his discs. He’s probably the best pianist alive today. But with the release of this disc, he moves into a different league entirely. Like Stephan Hough’s Mompou disc, this release is monumental in that it couples a superior technique and tastefulness (enough to make a great pianist) with an awe-inspiring use of color and expression. Hamelin’s playing on this disc moves me profoundly. Buy this and Hough’s Mompou disc and you’ll have two of the best piano discs ever released. You’ll be sorry if you don’t!
August 14th, 2010 @ 9:49 am
The cover of this CD may make one think about werewolves or that the piano pieces on this disc may have some connection with wolves howling in the wilderness. Actually, the two suites called A prole do Bebe have to do with children’s toys, and only one of the selections (entitled: The Little Glass wolf) has to do with a wolf. As one will understand upon hearing this short piece, the wolf is indeed snapping!
The piano works recorded her are very well played by Marc-Andre Hamelin and are beautifully recorded. Despite the fact the much of the music has to do with children, only the first suite can be said to be charming in its insight into a child’s world; the second is rather more abrasive and percussive. As Tres Maries (The Three Stars) are very short and sparkling. Rudepoema is considered to be Villa-Lobos’ masterpiece for the keyboard. It is rather hard to describe but is relentless in the percussive effects and astringent writing. It lasts for over 18 minutes, and with the exception of some short, reflective passages the music is characterized by jagged rhytmns.
In buying this disc I was interested in hearing something of the piano music of Villa-Lobos, and it is interesting but rather a challenge for the listener. Certainly, this is not for a someone seeking Chopin-like music.
August 15th, 2010 @ 9:36 am
The Rudepoema is by far my favorite piece on this disc. It is really more savage than primitive as it has extremely complicated polyrhythms and layering. The two suites, The Little Dolls and The Little Animals, very successfully evoke the “recollections of childhood” that the composer indicates in the titles. However, for my tastes, most of these pieces are a little too heavy on chaos and light on substance, and Hamelin’s playing doesn’t seem to do much to remedy this. When listening to them I often get the urge to skip to the last five or so in the second set (this includes pieces such as the “wooden horse” and the “glass wolf”, which, for their sheer drive and energy, are quite stunning on the first few listenings.) As Tres Marias are beautifully polished little pieces, but very very short. In summary, I would easily give this CD a five if all the compositions were of equal quality to Rudepoema. The Rudepoema is a good 18 minutes long, so if you like it as much as I do it will be worth the price of the CD.
August 16th, 2010 @ 9:26 am
Performed and recorded on a Steinway & Sons, in Henry Wood Hall, London, on August 27, and October 6 and 7, 1999. Duration: 63:57. TRACKS 1-3, 3:19: As Três Marias (The Three Maries), Alnitah [0'53], Alnilam [1'29], Mintika [0'54]; TRACKS 4-11, 13:41: A Prole do Bebê (The Baby’s Family) – Suite No 1, `The Dolls’, Branquinha (The Little White Porcelain Doll) [2'06], Moreninha (The Little Brunette Papier-Maché Doll) [1'24], Caboclinha (The Little Mestiza Clay Doll) [2'07], Mulatinha (The Little Mulatto Rubber Doll) [1'38], Negrinha (The Little Black Wooden Doll) [1'08], A Pobresinha (The Poor Little Rag Doll) [1'38], O Polichinello (Punch) [1'18], Bruxa (The Witch Cloth Doll) [2'16]; TRACKS 12-20, 27:40, A Prole do Bebê (The Baby’s Family) – Suite No 2, `The Little Animals’, A baratinha de papel (The Little Paper Cockroach) [2'07], O gatinho de papelao (The Little Cardboard Cat) [3'36], O camundongo de massa (The Little Papier-Maché Mouse) [2'53], O cachorrinho de burracha (The Little Rubber Dog) [3'03], O Cavalinho de páu (The Little Wooden Horse) [2'21], O boisinho de chumbo (The Little Tin Ox) [3'44], O passarinho de panno (The Little Cloth Bird) [3'09], O Ursozinho de algodão (The Little Cotton Bear) [2'32], O lobosino de vidro (The Little Glass Wolf) [4'16]; TRACK 21, 18:50: Rudepoêma (Savage Poem).