FRAMES CINEMA

Category: Venezia 80

  • Recensione Felicità – L’esordio alla regia di Micaela Ramazzotti #Venezia80

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    Micaela Ramazzotti esordisce alla regia con Felicità, presentato nella sezione Orizzonti Extra durante l’80esima edizione della Mostra del Cinema di Venezia. La storia è quella di Desirè (interpretata da Ramazzotti stessa), una acconciatrice che lavora nel mondo del cinema. Proveniente da una famiglia di borgata molto conservatrice, composta dai genitori di mezza età (Max Tortora ed Anna Galiena) e il fratello minore Claudio (Matteo Olivetti), Desirè se ne è allontanata appena compiuti i 18 anni, ma continua ad essere risucchiata all’interno del nucleo famigliare nonostante le diatribe col compagno Bruno (Sergio Rubini). L’ultima occasione è il tentato suicidio del fratello, che apre una voragine ancora più profonda in una famiglia già a pezzi.

    Con Felicità Ramazzotti debutta nel segno del cinema impegnato, o meglio, del cinema che parla, più o meno bene, di argomenti ‘impegnati’ e particolarmente topici. Ne è una prova già la scena iniziale, nella quale la protagonista ci viene presentata mentre, lavorando, viene molestata da uno degli attori sul set. La scena presenta un interessante contrasto visivo tra il mondo quasi favolistico del cinema, e l’atmosfera sul set rappresentata dalla tentata violenza su Desirè. Il momento successivo in cui, quando ne parla col suo compagno, questo si lamenta del fatto pregandola di ‘cercare di evitare che succeda di nuovo’, o quantomeno di non fargli parola di eventuali nuovi abusi, provoca ancora più rabbia perché ricalca delle argomentazioni addotte da chi colpevolizza la vittima per la violenza subita che ormai conosciamo a menadito. 

    Un tema certamente importante e sentito, specialmente post MeToo, quello dello sfruttamento sul posto di lavoro nel mondo del cinema e dell’abuso che si cela dietro un’industria capace di produrre tanta bellezza, e potenzialmente ricco di molti spunti nelle mani di un’attrice. Tuttavia, pur essendo presente, non sarà questa la colonna portante attorno a cui ruoterà l’intero film: l’incipit viene accantonato e ripreso solo a tratti. Felicità si occupa infatti soprattutto di salute mentale e dell’impatto potenzialmente negativo della famiglia o delle persone vicine nel processo di (tentata) guarigione. 

    I genitori di Claudio e Desirè sono infatti legati ad un contesto socio-storico-culturale completamente opposto a quello dei figli, e sono incapaci di affrontare la crisi mentale di Claudio, abbandonandosi a commenti ed atteggiamenti casuali ma dannosi. Anche il personaggio di Bruno, tuttavia, che pure è istruito e quindi potenzialmente più conscio di questioni sociali topiche come la salute mentale, non è esente dal giudizio nei confronti della compagna (come abbiamo avuto modo di vedere già nella scena iniziale). In Felicità nessuno è risparmiato ed effettivamente capace di affrontare la situazione, ricalcando l’ancora attuale incapacità del nostro paese di affrontare in maniera seria e senza giudizi la salute mentale.

    Nelle scene dedicate al tema Ramazzotti, anche sceneggiatrice (insieme alle esordienti Isabella Cecchi ed Alessandra Guidi), evita fortunatamente alcune potenziali trappole in cui spesso si cade nel parlare di malattie mentali: non demonizza l’uso di farmaci e la terapia psicologica (e anzi, le eleva), non nasconde la difficoltà del percorso di guarigione, non decide di puntare ad una facile riconciliazione con la parte dannosa in nome dell’affetto familiare o dei vincoli di sangue.

    Dove Felicità riesce in termini di dialoghi, a tratti didascalici ma certamente più che atti allo scopo (la ricostruzione di un ambiente familiare e relazionale soffocante) pecca però per costruzione della storia: alcune scene non sembrano avere un ruolo ben preciso per il procedere della vicenda, e alcuni fili narrativi a cui viene data importanza non vengono mai risolti. Ciò a partire dall’arco narrativo della stessa Desirè, che non ha mai una risoluzione vera e propria (potremmo potenzialmente dire che si tratta di un finale in linea col personaggio, incapace di pensare a sé e alla sua crescita e dedita al totale servizio di quello degli altri). 

    Neppure la regia e la fotografia brillano per guizzi di genio o perizia tecnica. Tuttavia, trattandosi di un debutto alla regia, siamo più propensi a passare sopra un risultato non brillante ma certamente pulito. Le premesse sono buone, e siamo curiosi di vedere se questo primo esperimento resterà un’eccezione nella carriera di Ramazzotti o l’inizio di un nuovo percorso.

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    Silvia Strambi,
    Redattrice.

  • Recensione Melk – Una silenziosa inquietudine #Venezia80

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    Con Melk assistiamo all’esordio della regista olandese Stefanie Kolk, che ha presentato il film all’interno della rassegna autonoma “giornate degli autori” nell’80esima edizione della mostra cinematografica di Venezia. Il suo primo lungometraggio racconta la drammatica storia di una madre che affronta il lutto di un aborto spontaneo subito in gravidanza. La tragicità dell’evento però è accompagnata da una particolare risposta da parte del suo corpo: un’ininterrotta e sempre crescente produzione di latte materno.

    Questo elemento diviene centrale nella narrazione e nella vita della protagonista, per la quale è impensabile sprecare quel latte che il suo bambino avrebbe potuto bere. Di conseguenza il più importante aspetto della sua vita diviene trovare un ente che le permetta di donare il suo latte materno ai neonati prematuri. Forse un modo per mantenere una connessione con suo figlio, per elaborare il triste avvenimento, per dare un fine alla sua gravidanza. Ciò che suscita maggior impressione è la calma quasi inquietante con cui i fatti si svolgono, scelta consapevole della regista. La Kolk ha infatti spiegato come l’ispirazione per l’opera fosse giunta in seguito a sensazioni provate da lei stessa durante il periodo della maternità. Era stata portata a ragionare su come funzionasse il corpo femminile dopo la gravidanza, da quali meccanismi esso fosse regolato, e da quanto imprevedibile potesse essere.

    La regista aveva parlato con donne che avevano vissuti aborti spontanei, e si era resa conto di come in occasioni simili le parole fossero superflue, e un silenzio carico di emozioni fosse molto più eloquente. Da qui la scelta di eliminare il caos dal racconto, o meglio, di esplicitarlo tramite un espressivo ossimoro. La lentezza del film può talvolta snervare e portare lo spettatore a chiedersi quale sia il punto a cui il racconto vuole giungere, ma il fulcro, il messaggio principale, è proprio la silenziosa inquietudine carica di dolore che porta a provare insieme ai protagonisti. In questo modo la connessione che si crea è molto più profonda e l’empatia molto più vera.

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    Gaia Fanelli,
    Redattrice.

  • Recensione La Terra Promessa – Il nuovo film di Nikolaj Arcel con Mads Mikkelsen #Venezia80

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    Bastarden – La terra promessa è l’ultimo film del regista danese Nikolaj Arcel, presentato all’80esima mostra internazionale dell’arte cinematografica di Venezia. L’opera si presenta diversa dal resto della sua produzione, come il regista stesso dichiara: costituisce infatti un bilancio della propria vita e carriera, posto sul piano esistenziale. Dopo essere diventato padre Arcel aveva avuto modo di ragionare sul suo atteggiamento nei confronti del lavoro, atto sempre a realizzare una narrazione artistica ma senza mai scendere più in profondità. Bastarden ha come fulcro quindi il concetto dell’ambizione, nella sua grandezza come nei suoi lati negatitivi.

    Nel 1755 il capitano Ludwig Kahlen si prefissa l’obiettivo di bonificare delle aride terre danesi, per potervi costruire una colonia delle terre del re. L’impresa, purtroppo, si rivela ardua già in partenza. I funzionari del sovrano infatti concedono l’autorizzazione a Kahlen convinti del suo imminente fallimento.
    Il capitano non si trova a sfidare solo un ambiente ostile all’agricoltura, ma dovrà far fronte anche a dispetti di svariato tipo da parte dei latifondisti della zona, infastiditi da una presenza estranea in quelle che reputano le loro terre. In particolare il ricco Frederik de Schinkel userà qualsiasi mezzo a sua disposizione per ostacolare la missione del protagonista, compresi atti spietati su civili innocenti.

    Lo stoicismo con cui Kahlen affronta le sfide che gli si propongono è esemplare, ma pur portandolo a realizzare il suo desiderio lo pone davanti a perdite molto gravi. Dietro il suo comportamento quasi ossessivo c’è però una ragione: egli infatti è di estrazione bassa, con una madre domestica e un padre che non lo aveva riconosciuto. Dopo 25 lunghi anni era riuscito ad ottenere una carica, bramando la frequentazione di ambienti nobiliari. Il mezzo per far parte del rango desiderato sarebbe stato la nomina a nobile, capo della colonia da lui fondata.

    Lo sguardo intenso e carico di emozioni di Mikkelsen, in una delle ultime scene del film, esprime il conflitto interiore di un uomo che dopo aver sacrificato la propria vita per realizzare un obiettivo, si chiede se il prezzo pagato ne valesse davvero la pena. In questa performance di Mikkelsen, come in quasi tutte le sue altre, il silenzio è veicolo di significati molto più di quanto le parole potrebbero esprimere. La maggior parte delle volte in cui si trova a dover ricostruire da capo qualcosa che gli è stato tolto, o viene posto dinanzi a un ricatto, il capitano Kahlen non parla quasi mai. È il suo viso a parlare per lui, a raccontare i pensieri che si stanno articolando nella sua mente e le sue valutazioni sulla situazione.

    Ma queste microespressioni sono quasi impercettibili, nascoste dietro una maschera immobile e ieratica, conscia che retrocedere di un passo, davanti ai potenti, significhi perdere tutto. Bastarden racchiude lo spirito scandinavo e abbraccia una narrazione sugli uomini del nord che li dipinge freddi, riservati e votati al sacrificio; capaci di accettare la sofferenza e rispondervi con la quiete.

    Una bellissima canzone di un artista norvegese recita:

    People in Northern Europe since medieval times
    We find it hard to deal with when our dreams come true
    As if happiness exists in the world at a fixed amount
    And if you feel up, somebody somewhere else feels down

    (1517 -The whitest boy alive)

    Questo sentimento è ben presente nei film di Joachim Trier, o nelle opere del suo più famoso parente Lars Von; in capolavori come Il sospetto di Thomas Vinterberg, in cui possiamo tra l’altro vedere sempre Mads come protagonista. E lo vediamo anche in Bastarden, accompagnato però da un’intensa quanto nascosta volontà di stare bene.

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    Gaia Fanelli,
    Redattrice.

  • Recensione L’ordine del Tempo – Il ritorno di Liliana Cavani dietro la macchina da presa #Venezia80

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    Torna dopo vent’anni dall’ultimo lungometraggio (Il gioco di Ripley, 2002) la regista novantenne Liliana Cavani torna con L’ordine del tempo, presentato fuori concorso alla Mostra del Cinema di Venezia, dove Cavani è stata premiata col Leone D’Oro alla Carriera. Il film è anche arrivato il 31 agosto in sala in tutta Italia.

    Protagonista un cast di star soprattutto italiane di tutto rispetto: Alessandro Gassmann, Edoardo Leo, Claudia Gerini, Valentina Cervi tra gli altri.
    Il film segue la storia di un gruppo di amici che, in occasione del cinquantesimo compleanno di Elsa (Gerini), si ritrova nella casa al mare di quest’ultima e del marito Pietro (Gassmann). Presente è anche Enrico (Leo), un fisico che porta con sé una tremenda notizia: un asteroide dalla portata potenzialmente distruttiva è entrato nel Sistema Solare e minaccia di distruggere la Terra.

    Lungi dal porre l’accento sulle implicazioni sociali di un evento simile come era in Don’t look up o, per fare un esempio meno recente, rendere la premessa un’occasione di celebrazione della specie umana (ma soprattutto dell’America) e della sua capacità di vincere/sconfiggere la natura come in Armageddon -Giudizio finale, il film di Cavani vira maggiormente su un approccio alla Melancholia, affrontando l’impatto psicologico di un simile evento su tutti i protagonisti. Ma se nel film di Von Trier l’imminente fine del mondo era usata come pretesto per affrontare il tema della depressione, qui la conseguenza del fatto sui personaggi è il più scontato e probabilmente ricorrente nella cinematografia italiana degli ultimi venti (e passa) anni: l’essere così vicino alla morte spinge infatti questi uomini e donne di mezza età a rivedere le proprie scelte di vita e ad interrogarsi su relazioni e sentimenti.

    Ma dal momento che ogni idea non è originale e che ogni storia è stata già raccontata (ricordiamo che, secondo Booker, esistono solo 7 tipi di trame fondamentali), il problema come al solito non sta nel ‘cosa’ ma nel ‘come’. Ed è il ‘come’ ad essere, anch’esso, assai scialbo: i protagonisti non fanno che raccontarsi agli altri (e al pubblico) per due lunghe ore, ricordando fatti, persone e relazioni interpersonali che, spesso e volentieri, appartengono al passato e che fanno la loro breve apparizione in maniera tanto frettolosa quanto inaspettata.. Ogni personaggio, sembra pretendere la sceneggiatura, deve avere il suo personale trauma o il proprio dramma irrisolto, qualsiasi esso sia e comunque sia (o meglio, non sia) stato introdotto in maniera organica sin dall’inizio nelle azioni e nelle parole dei rispettivi personaggi. Peccato non basti un trauma o una passione amorosa tragica per rendere un personaggio interessante (anche se molti media moderni sembrano crederlo).

    Completano il tutto riflessioni su un po’ di tutto (ambientalismo, religione, nazismo, ad un certo punto si parla persino di granchi blu) che però poco (se non proprio nulla) di nuovo o di originale hanno da dire rispetto a ciò che è già stato detto, e magari meglio, da altri autori.

    Sia chiaro, L’ordine del tempo non è e non sarà certo il peggior film presentato alla Mostra quest’anno, ma ha un grande, enorme difetto: è noioso, nella scrittura e nella regia, nonostante l'illustre mano che c'è alle spalle.

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    Silvia Strambi,
    Redattrice.

  • Recensione Ferrari – Una famiglia condannata #Venezia80

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    Con Ferrari Michael Mann torna sulle scene internazionali dopo ben otto anni dal suo Blackhat. Il film è presentato in Concorso alla 80. Mostra Internazionale d’Arte Cinematografica di Venezia ed è l’adattamento del romanzo Enzo Ferrari: The Man, The Cars, The Races, The Machine di Brock Yates.

    Come il libro da cui è tratto, Ferrari non racconta l’intera biografia dell’imprenditore italiano (interpretato da Adam Driver) ma decide di soffermarsi soltanto su una sua parte, in particolare il 1957 quando è ormai un ex pilota in crisi con l’ombra del fallimento incombente sull’azienda, che dirige assieme alla moglie Laura Garello (Penélope Cruz), a cui si aggiunge la tragedia della morte del figlio Dino stroncato appena un anno prima da una distrofia muscolare, a soli ventiquattro anni. Il film narra anche il rapporto del Commendatore con Lina Lardi e la pericolosa corsa che la casa Ferrari tenta coi suoi piloti nel maggio del ‘57, la Mille Miglia.

    L’uomo dietro al Cavallino

    Il Cavaliere, Il commendatore (fu nominato Cavaliere di Gran Croce dell’OMRI nel luglio del ‘57), L’Ingegnere, Il Mago di Maranello, Il Patriarca, Il Grande Vecchio, Il matto (Al mat in dialetto modenese) oppure anche Il Drake (facendo riferimento al famoso corsaro inglese Francis Drake), non si riescono a contare tutti i soprannomi affibbiati al capoccia del Cavallino, una delle personalità del ‘900 italiano attorno a cui – più di tanti altri – si è creato l’alone mitico che Michael Mann ha compreso adattarsi bene al racconto su grande schermo. Ferrari indossava sempre gli occhiali da sole per “non farsi guardare dentro” perché “solo attraverso gli occhi si può”, e quindi chi era il Drake secondo il regista di Heat – La sfida? Il film riserva soltanto i pochi minuti dell’incipit al Ferrari-pilota, con Driver che sfreccia in bianco e nero sulle auto da corsa degli anni ‘20, ma nei restanti 125 non troviamo nemmeno l’imprenditore, l’ingegnere automobilistico, o l’agitatore di uomini e di talenti (come amava definirsi), semmai soltanto un sessantenne narcisista sopravvissuto a due guerre mondiali, molteplici crisi finanziarie e altrettanti incontri con la morte che hanno contribuito a costruire il culto del brand Ferrari al di là dei successi su pista (rinomatamente molto inferiori rispetto a quelli di tante altre scuderie meno famose).

    Al Commendatore non andò mai giù quel “no” della Fiat agli albori della sua carriera da pilota e infatti viene presentato come una persona in cerca di riscatto, di rivalsa nei confronti di tutte le altre case automobilistiche ma poco curante dei suoi collaboratori, un po’ donnaiolo e algido anche con l’unico figlio rimasto, Piero, di cui fatica a soddisfare persino la semplice richiesta di avere l’autografo del pilota Alfonso de Portago, con cui Enzo è a contatto ogni giorno. Nel suo essere persona determinata e calcolatrice, Ferrari è anche estremamente solo e chiuso in sé stesso, segnato indelebilmente dalle morti del padre e del fratello maggiore avvenute a brevissima distanza nel 1916.

    Il requiem di Michael Mann

    In una scena con protagonista la magistrale Penélope Cruz, il suo personaggio spara con grande nonchalance appena sopra la spalla del marito Enzo, quasi per gioco, come mero atto ironicamente intimidatorio; non è un caso che il colpo sia sparato con tale facilità e disinvoltura: la morte è cosa comune per la famiglia Ferrari e soprattutto per Enzo, su cui aleggiava anche nel ‘33 quando gli amici e piloti Mario Umberto Borzacchini e Giuseppe Campari, citati nel film, morirono sulla pista dell’Autodromo di Monza scivolando in curva su di una macchia d’olio. Ma non solo, la fame di successo di Ferrari richiedeva ai piloti di spingersi fino al limite come successe a Eugenio Castellotti, di cui vediamo la morte nel marzo del ‘57 durante una sessione di prove private sull’Autodromo di Modena; forse non è un caso che all’inizio del film venga ripetuto come una minaccia il nome di Jean Behra, pilota che morirà sul circuito dell’AVUS durante il Gran Premio di Germania due anni dopo, nel 1959, e che nel film rappresenta inizialmente la paura esterna più grande per la scuderia Ferrari, la Maserati.

    Enzo si reca quotidianamente alla tomba del figlio Dino per confidarsi con lui e ricordare ogni giorno la scomparsa sua e del padre; ricordi funerei che incatenano il Drake a un passato che non potrà mai più riavere indietro e simboleggiato anche dalla guida che ancora Enzo adotta alla macchina, quella sportiva con cui gareggiava trent’anni prima. Morte che raggiungerà Ferrari soltanto alla veneranda età di novant’anni e che noi non vedremo mai nel film, dove si sceglie intelligentemente e simbolicamente di ambientare tutto nel ‘57 e terminare infatti con la tragedia di Guidizzolo avvenuta durante la Mille Miglia, dove perse la vita il pilota Alfonso de Portago – proprio il pilota il cui autografo era bramato dal piccolo Piero Ferrari – assieme al copilota Edmund Gurner Nelson, e dove morirono nove spettatori tra cui cinque bambini, oltre a numerosi feriti.

    Il Commendatore venne incriminato e rinviato a giudizio per l’incidente, ma infine assolto. Cosa che invece decide di non fare Michael Mann, dipingendo con toni talvolta lirici – guardacaso ci sarà anche un sipario a teatro – una famiglia condannata, maledetta, a cui viene dedicato un requiem mai assolutorio ma terribilmente cinico, tetro e tragico.

    Ferrari uscirà nelle sale italiane il 30 novembre 2023.

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    Alberto Faggiotto,
    Caporedattore.

  • Recensione Comandante – L’epopea marittima del capitano Todaro

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    Comandante è il quinto lungometraggio portato a compimento da Edoardo De Angelis in appena dodici anni, giovane regista italiano che si è aggiudicato il premio per la Miglior sceneggiatura originale ai David di Donatello del 2017 grazie a Indivisibili, mentre l’ultima fatica, Il vizio della speranza, gli è valsa il Premio del pubblico BNL alla Festa del Cinema di Roma del 2018.

    Sostituendo Challengers di Luca Guadagnino – che non parteciperà alla Mostra per decisioni della produzione a seguito dello sciopero indetto il 13 luglio dal sindacato degli attori americani Sag-Aftra – il film con protagonista Pierfrancesco Favino è il nuovo film d’apertura della 80. Mostra Internazionale d’Arte Cinematografica di Venezia, dove viene presentato in Concorso.

    Pierfrancesco Favino nei panni del capitano Salvatore Todaro

    Una guerra intimista

    16 ottobre 1940: il capitano Salvatore Todaro è al comando del sommergibile Comandante Cappellini. Dopo essere stata colpita dai colpi di un piroscafo mercantile belga, la flotta italiana lo affonda a largo dell’Atlantico. Todaro deciderà di salvare i 26 naufraghi belgi e di esporsi al fuoco nemico navigando in emersione per tre giorni e, di conseguenza, rischiando la vita.

    Inserendosi nel filone sommergibilista di film come Caccia a ottobre rosso di John McTiernan o il fluviale Das Boot di Wolfgang Petersen, Comandante decide di intraprendere una strada più intimista rifuggendo la spettacolarizzazione del conflitto bellico. Anzi, escluso l’affondamento della flotta belga non c’è traccia della guerra perché il conflitto è umano, scegliere se tendere la mano al nemico o se lasciarlo in balia delle onde dell’Atlantico. De Angelis tenta di sfruttare gli angusti spazi del sommergibile al servizio della Regia Marina come spazio di riflessione per un messaggio umanista e solidarista che vada contro quell’eroismo barbaro citato dallo stesso Todaro nelle lettere alla moglie Rina (“Il soldato che vince non è mai così grande come quando si inchina al soldato vinto: oggi noi e i nostri nemici, insieme, ci siamo salvati”).

    Sorge quasi il dubbio, all’inizio, che il sommergibile Comandante Cappellini non emani un’aura sacra: “non si può mai sapere” ripete Favino prima di immergersi ai suoi sottoposti, uno ad uno, proprio come fosse un sacerdote, come se la preparazione alla tratta marittima e il monito di poter non tornare vivi avesse carattere liturgico. Una liturgia frenata da un monito duro e secco del capitano (“Chi piange lo butto in mare!”) che gioca ovviamente con il suo cambiamento successivo e la scelta di salvare la flotta belga, disobbedendo alle leggi militariste imposte dal regime fascista

    Lo scontro con il piroscafo mercantile belga

    Favino – ora in scena con accento veneto dopo aver recitato con accento mediorientale in Nostalgia di Martone – interpreta con il suo solito e grande carisma un personaggio dotato di una forza d’animo tale da preferire l’etica alle spietate norme belliche e qui arriva, ovviamente, l’elefante nella stanza: le domande in conferenza stampa hanno subito fatto riferimento a quanto sta accadendo ora, probabilmente proprio in questo momento, nel Mar Mediterraneo; l’analogia con la questione porti aperti? o porti chiusi? è lapalissiana, ma il film ha la forza in grado di soddisfare tutte le premesse e di mantenere le altrettante promesse?

    Premesse e promesse

    E’ vero che, per chi desidera trovarlo, non è difficile individuare il nesso con la questione migratoria contemporanea, ma se si va a fondo della sceneggiatura di Comandante emerge che, in realtà, il legame è esclusivamente extratestuale e abbastanza forzato: il film non pare avere una scrittura in grado di reggere sulle spalle una tematica di tale portata dal momento che, nonostante 120 minuti a disposizione, né la flotta italiana né quella belga sono mai indagate a fondo (per non parlare del fatto che nel film i primi ad attaccare sono i belga, che sarebbero invece dovuti restare neutrali nel conflitto mondiale, come sottolineato da Todaro); il rischio di scadere nella retorica degli “italiani brava gente” è concreto (“Siamo italiani!” esclama fieramente il capitano), ed è un peccato che non si sia riusciti ad approfondire la psicologia dei personaggi. Allo scorrere dei titoli di coda si ha la sensazione di non sapere quasi niente dei protagonisti, a partire dai loro rapporti con le rispettive mogli, indagati a inizio film (per non dire appena accennati) e mai più ripresi. Era interessante anche vedere come sarebbe stato portato avanti il tema del costante isolamento a cui sono obbligati i marinai, sempre pedinati dal rischio di morire in mare con conseguente oblio dei loro corpi sepolti sotto la sabbia; in effetti, forse, questa fobia degli uomini di mare è l’argomento che emerge di più dallo script di Carmine Guarino (lodevole la scelta di non lesinare nemmeno visivamente sulla loro sofferenza fisica), sebbene l’onnipresente voice over che ha l’intento di fare emergere i loro pensieri toglie potenza poetica alle sequenze più tese, dove il completo silenzio interrotto soltanto dal frangersi delle onde del mare avrebbe suggerito ancora di più il clima paradossalmente claustrofobico e di segregazione a cui li costringe il mare aperto.

    L’interno del sommergibile Comandante Cappellini

    Fa riflettere, inoltre, che in un film che affronta con tono solenne e con passo austero questioni tanto spinose anche per il contemporaneo, le parti capaci di solleticare per pochi minuti le emozioni degli spettatori siano quelle comedy, in particolare quelle che coinvolgono il cuoco della flotta (ma più in generale tutta la parte culinaria: c’è un divertente sipario dove protagoniste sono le patatine fritte belga).

    De Angelis è dotato di buonissima tecnica e la direzione degli attori è ottima, ma il sottotesto del film risulta essere abbastanza banale, scarno di riflessioni e mai affrontato col mordente di penna necessario ad avviare per davvero una riflessione sensata sull’approccio umanista e solidarista del capitano. 

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    Alberto Faggiotto,
    Caporedattore.