Saverio Costanzo
"The Solitude of Prime Numbers" is frankly a film failed, but it is a noble failure. That is to say that in bringing this ambitious writer-director Saverio Costanzo has come a long way, with courage and ability, even if the end result is not convincing, it does not deface Costanzo as one of the best young Italian.
Based on the novel by Paul Jordan, who also contributed to the screenplay, the film explores the painful world of two young people traumatized as children. Matthew as a child abandoned on a bench mental handicapped sister, ashamed to take her to a party, and then he never found again; Alice as a child was forced by his father stupid and ambitious skiing on a dangerous track and had an accident remained lame. Wounds of the soul and body wounds that exchange: Matt moved his pain in the body by means of self-injury, Alice has developed his physical injury as a wound interior; both live a life of loneliness and maladjustment. Costanzo does not shy away from naturalism: the anorexic thinness of the body of Alba Rohrwacher (Alice), the snot dripping from her nose (in the film is a strange double register of body fluids: the snot shows, no blood, and the scene of his injured hand hides it off, that - very disturbing - the cutting of the tattooed skin is now in ellipses).
The plot consists of four time lines: a "story first" in 2001, interlinear with a double series of flashbacks of the protagonists Children (1984) and adolescents (1991), plus an epilogue in 2008. The editor of heaven: and indeed the editing of the film is effective in jump from one time to another, with rhymes, joints of time, false connections.
There is much beauty in "The Solitude of Prime Numbers." Directed by Costanzo is refined, well-supported by the picture of Fabio Cianchetti (photo elegant and compelling, excellent construction of frame) and just by installing the "bellocchiana" Francesca Calvelli. Perhaps less of a music sometimes too present. Several pages are vigorous and persuasive. See the opening with the recitation of the children in costume, and camera processing, intent, and reveals the expression wildly afraid of the child-tree, and then ruin the show when she starts screaming, and her brother takes her hand, we lost both eyes in front of the crowd of spectators. Or, later, the gloomy scenes of the disaster that is about to fall on the lives of two children - of course in parallel montage, with a dramatic use of hand-held camera - produce an atmosphere of horror that is impressive and engaging. A notable specialties Saverio Costanzo is the intensity of the faces. Sequence in the beautiful marriage of Viola, and hear a mournful waltz (Costanzo appropriately chose the "Valse triste" of Sibelius), we observe the stars and guests: it is the days of Fellini, I dare say, not seen in our cinema such work faces. Memorabilia here Mattia and Alice, adults, who - after the confession of the first and the second the kiss - they enter the room holding hands and appear to be the bride and groom (not for nothing, that they are photographers, are photographed!).
These scenes, or other equally successful, undoubtedly make a remarkable work. Unfortunately this does not mean consistent. In contrast with other very compelling pages below for successful aesthetic and narrative power. Just mention the awkward dialogue between Alice and her former husband Fabio voice on the answering machine (where it falls in the worst of Italian cinema) or the nonsense immediately following the entry of Fabio home with her, hidden under the table. A strange thing in the film is its gradual decline: getting worse according to the narrative time is close to ours: the portion 1984 is better than that 1991 is better than 2001 that is better than 2008. In general, the third section, in chronological order seems less substantial than the other two, while the 2008 is downright ugly.
Why does this happen? It should be emphasized in the film, the opposition between the good job of directing and sometimes mediocre level of the script (it's an Italian tradition, unfortunately). The psychology of the secondary characters in the film are not clear (the friend-enemy Viola) or they are caricatures (the Alice's father), also an important figure as the doctor Fabio, then husband of Alice, a character remains anodyne. The dialogue sometimes seems contrived, implausible, too obviously functional development of the plot. For example, a good scene in which the surgeon Mattia child plays with a toy fashion in those years, and her sister arrives, is damaged by invading mother described as too didactic. It happens so often in our cinema a character look like an idiot or a fool not because they both diegetic but because the script has not been able to give veracity to his act or his say. In some cases
Costanzo Costanzo director lifts the work of writers and Jordan: the scene of bullying Alice against women is commonplace, but it is ennobled by the effective play of expressions and glances. The fact is, this spiral dialectic implies a further tightening, as the limits of the screenplay and directed to take at times overindulgent solutions, such as the clown played by Filippo Timi: the idea of \u200b\u200bputting in a sequence of child anxiety (which stands up well alone) an evil clown Squaderno on the screen with the most banal choices of framing and lighting is an innocence that you would expect from Costanzo, a moment of loss of artistic self-control. So
"The Solitude of Prime Numbers" is a film alternates. But in a film that you consider important robetta di infimo ordine come “La Passione” di Mazzacurati, avercene di film così.
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