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Son's Room (Widescreen)
 
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Son's Room (Widescreen)

Nanni Moretti (Actor), Laura Morante (Actor), Nanni Moretti (Director) | Rated: R (Restricted) | Format: DVD
3.7 out of 5 stars  See all reviews (7 customer reviews)

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Pudique, sensible, émouvant… Les qualificatifs manquent pour exprimer les différentes facettes du film de Nanni Moretti. D'un sujet éminemment douloureux – la perte d'un enfant –, le réalisateur de Journal intime et Aprile a tiré une œuvre bouleversante mais ne sombrant à aucun moment dans le pathos. Après une première demi- heure d'exposition – une famille unie, dont le bonheur est symbolisé par cette scène où tous reprennent en chœur le refrain entonné dans la voiture par le père -, Moretti observe, tout en douceur, la lente désagrégation de cette cohésion après la mort d'Andréa. Tout entier tourné vers lui-même et son irrépressible sentiment de culpabilité, le père sombre peu à peu, délaissant sa femme, sa fille et ses patients. Quant aux autres membres de la famille, la mère (Laura Morante, extraordinaire) survit comme elle peut, accrochée à l'espoir de rencontrer un jour celle qui fut l'éphémère petite amie d'Andréa, et Irène choisit de se renfermer sur elle-même. Interprété avec retenue, filmé tout en délicatesse, le long chemin de croix de cette famille a valu à Nani Moretti une très justifiée Palme d'or à Cannes en 2001. Le DVD – impeccable techniquement – offre des bonus intéressants : la conférence de presse cannoise, une interview un peu convenue de Moretti pour la télévision italienne, un court métrage ; mais sans commune mesure avec ce film qui laisse pantelant, bouleversé et rempli d'espoir à la fois. --Georges Dabeliou

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Customer Reviews

7 Reviews
5 star:
 (3)
4 star:
 (2)
3 star:    (0)
2 star:
 (1)
1 star:
 (1)
 
 
 
 
 
Average Customer Review
3.7 out of 5 stars (7 customer reviews)
 
 
 
 
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5.0 out of 5 stars The Buddhist Way, Jun 27 2004
This review is from: Son's Room (Widescreen) (DVD)
Must say that I've been waiting for a film like this for a long time. Nothing fancy, just beautiful, elegant, and detailed. Most of the time I was not aware that I was watching a film. It was that real. The film may have a simple look, but the philosophy/attitude that helps the family to come through the crisis is not. The Buddhist ideas revealed in the film are not some new age bull but sincere and inspiring. And I find the ending extremely powerful yet soothing. This is a great film made by a filmmaker who knows the medium really, really well.
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4.0 out of 5 stars The Question The Main Theme Brings About, Jun 17 2004
This review is from: Son's Room (Widescreen) (DVD)
The happiest possible family shrouded by the drowning of a beloved son. So, not even a psychoanalyst is able to extricate himself, let alone helping the other family members. Everything turned sour and was virtually up-side-down eversince. But if this drags on too long as they do, it would instead suggest that there are some intrinsic frailties in this family, at least frailties in their personalities, particuarly so when the family have enjoyed so many years of perfect happiness. Or is it the other way round, too much blessing is in fact a curse? Well, the generation which had gone through the war or some similar disasters seems, on the whole, to be doing better.

A nice movie to watch and the cast is perfect, great cimematography with a lot of foreign settings. But the first part is of the movie is more appealing than the last bit though.

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4.0 out of 5 stars Meditation on Life and Death...and Grief and Love, the Works, Oct 11 2003
This review is from: Son's Room (Widescreen) (DVD)
This is only the second Nanni Moretti film that I've seen, and although I know he's known for his comedies, this and CARO DIARIO (the other film I am familiar with) tackle pretty weighty topics of death and dying, how to live in the face of death, the value of work (especially, creative work) and, well, life itself (what does it all mean? how can we make it meaningful? all the big questions).

Unlike the largely autobiographical CARO DIARIO, THE SON'S ROOM is a work of fiction and therefore a little easier to deal with. It is, in fact, quite understated, as many other viewers have noted, but there are suggestions of the inner turbulence each character experiences in dealing with the sudden death of a beloved member of the family. Each member of the immediate family has his or her moment of breakdown or dysfunction. Yes, it's predictable enough that we KNOW they're going to get their act together somehow. But it's just unpredictable enough that we don't know how or when or after how many setbacks.

Some have commented on the Italian "feel" of the movie, and that difference is certainly apparent when you compare it to an American film on a similar theme, such as ORDINARY PEOPLE, say, or more recently, IN THE BEDROOM (speaking of "room" movies). Both American films are powerful, emotional tours de force. Contrary to the cultural stereotype of some perhaps, THE SON'S ROOM, is somewhat reserved in its portrait of grief. Not every scene builds to an emotional climax. In fact, some minor storylines, like the fossil theft, are essentially dropped in light of the larger drama that overwhelms them. In that, this film seems actually somewhat truer to life than its American "counterparts" (if that's what they are).

I found myself often agreeing with Darragh O'Donough's very qualified review posted above, even though his assessment of the film seems much harsher than my own. To me, the film's strength lies, ultimately, in its understatement. But I must admit, I will have to consider more, O'Donough's assertion that the theme of the film is more one of alienation than grief. That's an interesting take, and it may just well be true. Oddly enough, I'm not sure that that's the theme Moretti and team imagined they were addressing. I'm also not sure how much that matters.

Either way, THE SON'S ROOM is one to see.

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