David O'ConnellLa Sconosciuta (The Unknown Woman)
May 27th 2009 04:44
It’s a shame director Giuseppe Tornatore’s name seems destined to forever be associated with his 1989 breakthrough, Cinema Paradiso, a nostalgic crowd-pleaser that forged his international reputation. You'd have to say he’s failed to capitalize on the momentum created by its success although he has churned out some interesting films nevertheless, including A Pure Formality (1994). More worrisome is how Tornatore seems disinclined to halt the disturbing misogynistic trend of recent outings, especially the vibrant but insufferable Malena (2000) whose only virtue was surely the tantalising sight - so often naked - of Monica Belluci!
After a six year break he returned with a Hitchcockian puzzle, La Sconosciuta, the tale of a psychologically scarred woman’s retreat into a supposed new life. Intriguing for much of its length, it loses direction, not to mention credibility, as the mysterious pieces - clues to the protagonist’s true motives - are flushed out into the open, via explicit flashbacks.
Irena (Kseniya Rappoport), a Ukranian emigre, has ventured to the Italian city of Velarchi in search of a new beginning and a safe haven. On the lookout for work as a maid or babysitter, she soon coerces the porter (Allesandro Haber) of an elite apartment complex - home to many of the city’s jewelers - to arrange duties for her in exchange for a large cut of her earnings. Her ultimate goal seems to be that of ingratiating her way into the household of a particular family, the Adachers, including wife Valeria (Claudia Gerini) and their young daughter Thea (Clara Dossena) on whom she develops an increasingly unhealthy fixation.
Clearly, things are not quite right with Irena, who in moments of extreme stress or panic is prone to flashbacks of a brutal past. Recurring as sharply-edited snippets, their true nature remains mystifyingly unclear for a while. Only later does it becomes apparent that this scarred woman has suffered at the hands of a monstrous, repugnant tyrant known as 'Mold' (Michele Placido), who would use her as a sex slave and regular baby-making factory. Conversely, certain sights and sounds around her new city also trigger the occasional happy memory for Irena: an alternate life with a loving man in a perfect but fleeting parallel universe.
Tornatore’s film looks gorgeous with cinematographer Fabio Zamarion's glossy, toned-down palette providing an attractive sheen. His screenplay is unsettling, in a compelling way, for a while too, mostly because he's clever enough to hold back key revelations long enough to hook his audience with the conceit of his non-linear flashbacks. But the backstory delves into more unpalatable material as Irena's past is prised open and becomes hard to stomach thereafter.
The revenge aspect takes on nasty proportions, ramping up the brutality for the sake of inciting provocation; hardly helping matters is the absurd return from the dead of a character seemingly butchered beyond even the help of an Almighty healer. Then there’s the child abuse Thea incurs at Irena’s hands for the sake of teaching the young girl a lesson about standing up for herself; her tutoring comes to fruition in a disturbing playground confrontation as Thea begins slapping a bully around, her voyeuristic instructor almost dancing with glee at the result of her relentless admonishments.
Legendary composer Ennio Morricone, a regular collaborator of the director’s, seems to be channeling Bernard Herrmann at times with his contribution, providing an edgy score replete with skittering strings and a general tone of bleak romanticism.
There’s no doubting the intensity and conviction of Rappoport’s first-class performance as the battered but resilient Irena, but ultimately, La Sconosciuta leaves a nasty aftertaste in your mouth despite the technical proficiency with which it’s engineered. An absorbing but throwaway thriller, it remains a mystery how it was rewarded with not only accolades but a raft of prizes from Italian critics, including best film at the prestigious Donatello awards. It must have been a weak year for quality Italian drama.
After a six year break he returned with a Hitchcockian puzzle, La Sconosciuta, the tale of a psychologically scarred woman’s retreat into a supposed new life. Intriguing for much of its length, it loses direction, not to mention credibility, as the mysterious pieces - clues to the protagonist’s true motives - are flushed out into the open, via explicit flashbacks.
Irena (Kseniya Rappoport), a Ukranian emigre, has ventured to the Italian city of Velarchi in search of a new beginning and a safe haven. On the lookout for work as a maid or babysitter, she soon coerces the porter (Allesandro Haber) of an elite apartment complex - home to many of the city’s jewelers - to arrange duties for her in exchange for a large cut of her earnings. Her ultimate goal seems to be that of ingratiating her way into the household of a particular family, the Adachers, including wife Valeria (Claudia Gerini) and their young daughter Thea (Clara Dossena) on whom she develops an increasingly unhealthy fixation.
Clearly, things are not quite right with Irena, who in moments of extreme stress or panic is prone to flashbacks of a brutal past. Recurring as sharply-edited snippets, their true nature remains mystifyingly unclear for a while. Only later does it becomes apparent that this scarred woman has suffered at the hands of a monstrous, repugnant tyrant known as 'Mold' (Michele Placido), who would use her as a sex slave and regular baby-making factory. Conversely, certain sights and sounds around her new city also trigger the occasional happy memory for Irena: an alternate life with a loving man in a perfect but fleeting parallel universe.
Kseniya Rappoport as Irena
Tornatore’s film looks gorgeous with cinematographer Fabio Zamarion's glossy, toned-down palette providing an attractive sheen. His screenplay is unsettling, in a compelling way, for a while too, mostly because he's clever enough to hold back key revelations long enough to hook his audience with the conceit of his non-linear flashbacks. But the backstory delves into more unpalatable material as Irena's past is prised open and becomes hard to stomach thereafter.
The revenge aspect takes on nasty proportions, ramping up the brutality for the sake of inciting provocation; hardly helping matters is the absurd return from the dead of a character seemingly butchered beyond even the help of an Almighty healer. Then there’s the child abuse Thea incurs at Irena’s hands for the sake of teaching the young girl a lesson about standing up for herself; her tutoring comes to fruition in a disturbing playground confrontation as Thea begins slapping a bully around, her voyeuristic instructor almost dancing with glee at the result of her relentless admonishments.
A family in peril: Valeria (Claudia Gerini) and daughter Thea (Clara Dossena) with Irena
Legendary composer Ennio Morricone, a regular collaborator of the director’s, seems to be channeling Bernard Herrmann at times with his contribution, providing an edgy score replete with skittering strings and a general tone of bleak romanticism.
There’s no doubting the intensity and conviction of Rappoport’s first-class performance as the battered but resilient Irena, but ultimately, La Sconosciuta leaves a nasty aftertaste in your mouth despite the technical proficiency with which it’s engineered. An absorbing but throwaway thriller, it remains a mystery how it was rewarded with not only accolades but a raft of prizes from Italian critics, including best film at the prestigious Donatello awards. It must have been a weak year for quality Italian drama.
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Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
it is a bit of a throwaway thriller, but definitely shocking material. The value in watching films like this is that it gives you an appreciation for those lives that are thrown away for money. Worse than prostitution, no?
Comment by Bryn
Horrorphile
I thoroughly enjoyed this movie, even though the ending came together to quickly and concisely. Stunning visual narrative and great acting. I liked not knowing exactly what was going on sometimes, but piecing it together latter on. Here's my review here
Comment by David O'Connell
Screen Fanatic
I mean, yes, admittedly it's absorbing stuff - but seriously, 2006's Best Film of the Year in Italy??!!
Bryn, that link to your review seems to be broken, send me your review if you can mate, I'd be interested to read your take on it.
The acting is certainly top-notch, I'd be very interested in seeing more of Rappoport's work, she carries the film very impressively. The unpredictability of the first half is definitely one of its strengths too.
Comment by Matt Shea
20/20 Filmsight
I must say that it's been ages since I saw an Italian movie that really blew me away. Quiet Chaos was good, for example, but not really deserving of the awards that it picked up at home, I thought.
Anyway, might go read Bryn and Cib's reviews!...
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by Matt Shea
20/20 Filmsight
Comment by Bryn
Horrorphile
here ya go
Comment by Bryn
Horrorphile
Comment by Matt Shea
20/20 Filmsight
Comment by Bryn
Horrorphile