Adri and Clara

This is a recent movie directed by Emanuele Crialese; one of his earlier films was the very fine Nuovomondo /Golden  Door  (2006). That feature followed Italian migrants at the start of the C20th journeying to the USA. And, as in this new title, it featured fantasy scenes to express the emotional state of the characters. The new title has been translated as ‘The Immensity’, but ‘intensity’ would be a better sense. In this new feature it is the intensity of the leading characters emotions and relationships that are the focus of the movie.

This new feature is set in the Rome of the 1970s. Penelope Cruz, in the main role of Clara, is the Spanish wife of an Italian business man with three children.  Her character uses the style, especially in her hair, of the major contemporary star, Sophia Loran. The three children are Adri (Luana Giuliani): Gino (Patrizio Francioni): and Diana (María Chiara Goretti). They form a group somewhat apart from the husband  Felice (Vincenzo Amato), who has problems adhering to marital fidelity. Adri, together with Clara, is the heart of the movie and she is experiencing difficulties with her identity.

The drama uses popular songs from the 1970s as one way to express the emotion and intensity of the characters. This is especially true of Clara and Adri, both of whom have fantasy sequences involving  performances of a popular song. The style here appears to be an amalgam of Michael Jackson and that found on Berlusconi’s television channels. The emotion flows from Clara to her children, but meets little response from the husband. Several key moments later in the movie are ambiguous which means the audience may be surprised at certain moments. Along with intense emotion the drama has humour, creating a bitter-sweet atmosphere.

Penelope Cruz is really fine as is Luana Giuliani in her first screen role. The two siblings are also played well and the supporting cast are fine in what are less sympathetic roles. Across the class divide, symbolised not by a railway track but a bamboo thicket, we find Sara (Penelope Nieto Conti), who befriends Adri.

This is definitely a movie to catch: it is in colour and full widescreen with English sub-titles: and has more screenings this week. Nearly all  are in the remodelled original auditorium, now Screen 1. I was impressed with the quality of the image and sound here. I had the same feeling when I viewed an earlier screening of La syndicaliste (2022), a French political thriller set in the nuclear industry and with a fine performance from another major European actor, Isabelle Hubert.

The remodelled Screen I auditorium has a number of improvements. There is now only a single entrance but the doors are automatic and really cut out extraneous noise. The gas lighting remains though not always in use; but the aisle light snow have LEDs which are less distracting. There is a new screen; slightly smaller I think but flat, with a pristine surface and proper masking; [and the auditorium is slightly smaller due to developing the foyer].. However, the best addition is a new Barco 2K laser projector. This is the first time that I have seen one in action. It definitely provides a brighter image: the colour spectrum is improved: and the contrast also seems to be improved. I am curious as to how the digital transfers of actual film titles will look; the two French titles originated on digital equipment and software.

I had one small reservation; whilst the web pages request switching off mobile phones there is not an on-screen warning to this effect. So please, switch them off before you enter the auditorium and please do not use them as torches to find you seat; that is distracting.

I am afraid if you’ve just noticed this then you missed seeing this great film – it was screened on Thursday June 4^th. There was a fairly good audience, 70 or more I reckoned. And they were clearly divided about the film. A couple passed me as the end credits rolled by – he hated it, she thought it was great. In the foyer a group of four were debating the merits or demerits of the film. Outside there were trios and pairs, one couple considering their responses. I was surprised so many people were seeing the film for the first time: I have had the pleasure of being familiar with the film for years. But it is reassuring that a film can stimulate so much intense discussion.

The HPPH Brochure notes that the film was selected in the Top Ten in the 2012 S&S Critics Poll: at number 10. Mote notably, it was number 4 in the parallel Director’s Poll and Federico Fellini was top director.

The film has so many virtues, fine cinematography by Gianni Di Venanzo; a great score by Nino Rota; and superb editing by Leo Catozzo. And the cast! – at times it felt as if Fellini was throwing a party for all the wonderful actors who had graced his films. This screening was sourced from a DCP. I thought the transfer was good, but the digital version did not do full justice to sparkling contrast tween black and white, especially in the long shots. But the sound was great.

And despair not. I last saw this film two or three years ago – so it will come round again. And it is worth waiting to see it ‘real’, on the big screen.