February 15, 2009
Michael Winterbottom, the typically prolific Brit filmmaker makes his return with Genova, a smaller, quieter, and more thoughtful film than his last effort, the much lauded but I think ultimate failure, A Mighty Heart (My reasons for not liking that film are on here if you care t...( read more)o see why).
Colin Firth plays Joe, a grieving widow, father to two girls who survived the car crash which killed their mother. In the wake of the accident, he uproots the family to Italy where he'll teach at the university; they'll get piano lessons for now, or wander the cities labyrinth of alleys. His connection in the city is an old friend from college, Barbara, played by the always excellent Catherine Keener. They seem to have some sort of hidden romantic connection from days long gone. Well, she does at least. She acts as their tour guide at first, then later a confidant.
The oldest daughter, Kelly, (Willa Holland) is resentful of her younger sister, Mary (Perla Haney-Jardine), and blames her for their mothers' death. And she too blames herself. After all if it were not for her actions taken, the accident wouldn't have happened. She wets the bed now, screams in her sleep for her mother, and is quietly distraught at most times. Barbara becomes a friend to the young girl. One day on a beach trip, while with Barbara visiting an old church, Mary openly states the accident was her fault. Of course, Barbara tries to reassure her it was just an accident and no one's fault, but Mary walks away. She walks away from Barbara, the church, and cannot be found. A distraught Barbara must go tell Joe that she can't find his daughter. He searches frantically around the hilly sloped trails until he finds her in the train station of the next down, on the platform going away from their new home. Why? Because she followed her mother there she says. Winterbottom throws a monkey wrench into what has otherwise been a very grounded film. We see the mother leading the girl around. It's most logically the girl's imagination, but yet then there is a scene in which Mary gets lost in the alleyways of the city after being left behind by her sister, and follows her mother to the apartment.
There really isn't much that goes on in Genova plotwise. It just kind of exists in the realm of its characters. It thrives on its characters and their experiences and emotions in the struggle to come to grips with a new world unfairly thrust upon them. In times of turmoil, the key is to stick together as a family. Genova is about the challenge it can be to achieve that, even when you truly are in love with your family. Kelly, the oldest, is at that age where she's interested in boys and sex, and finds her escape in a young Italian man. Joe is taken to one of his students, smitten with him, while Barbara looks on, either jealous or simply concerned. Mary is pressed by the unflinching guilt, but remains as the most dedicated to family, perhaps because of that guilt, perhaps because at her age she knows nothing else. She's not yet jaded.
The films grand finale is the capitulation of that challenge. Joe goes for a end of classes dinner with his smitten student, and is late picking up Kelly and Mary. Kelly has gone to the beach with her Italian boyfriend, who doesn't want to drive her back to town to meet her sister. Her sitter has to leave before she returns, so Mary says she'll just walk home alone - she knows the way. On the way she sees her mother, and follows her. As Joe and Kelly rush to find Mary in realization of what their selfishness could cause, the three careen towards each other in what could turn out to be a gut crushing disaster.
Genova succeeds foremost because of its acting. Colin Firth, a British mainstay of romantic comedies, gives a very strong performance as the father. I've always thought he was a likable guy and a very good actor, and this is a very respectable role for him. Keener is incapable of not being fantastic, so I think that's all that has to be said there. Willa Holland of Gossip Girl fame shows she's got a bright future ahead of her with her portrayal of Kelly. In a film with great performances all around, it's difficult to say one is the best, but to me certainly the most impressive is Perla Haney-Jardine. She is the key to the film, and gives a wonderful performance as Mary.
Winterbottom has long been one of cinema's go-to guys for experimenting and daring. He co-wrote the screenplay, and this time keeps his direction subtle, but very well done. As always, he makes excellent use of music throughout the film, classical and modern. I also really liked his direction during Joe's frantic search for Mary on the dangerous trails. There's one particular shot of Mary and her mother walking that I thought was fantastically done, and for whatever reason is sticking with me. Other than the appearance of what may be a ghost, Genova is a very grounded film and doesn't go searching for shocks or controversy. It's a small film, but a polished one. Even with names like Colin Firth and Catherine Keener, it's unlikely that the picture will get too much attention. Nothing out of the ordinary for a Winterbottom film. It's one of those movies that will likely get respect, but divide its audience with its pacing. I enjoyed it, and thought it was a very heartfelt film. There are lots of movies about dysfunctional families, but not too many about loving ones dealing with death done with intelligence.
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