User reviews

During the first twenty minutes or so of `Besieged,' directed by Bernardo Bertolucci, there is virtually no dialogue, at least nothing even remotely conversational; and yet the first half hour of the film is almost hypnotically riveting, and by that point you already know more about the two main characters than if they'd had pages worth of words to say. And it's all done with the subtle, controlled emoting of the actors, guided by a director with a keen eye for detail, who knows exactly what he wants, how to get it and how to present it.

This emotionally involving film stars Thandie Newton as Shandurai, a young woman forced to leave South Africa for Rome after her husband, a school teacher, is arrested by the Military Police, then summarily held in prison-- and without a trial-- indefinitely (His crime is never precisely indicated, though it is implied during a classroom scene at the very beginning of the film). In Rome, Shandurai attends medical school, while supporting herself by working as a housekeeper for a man named Mr. Kinsky (David Thewlis), a reclusive pianist, apparently fairly well-to-do, who gives piano lessons to children in his home.

Early on in the film it is evident that Mr. Kinsky looks upon Shandurai as something more than merely a housekeeper; he is obviously quite taken with her. The moral implications of the situation are readily apparent, of course, as is the position in which it will predictably place Shandurai at some point in the near future. There is little doubt as to the direction the story is taking; the question that remains, however, is how Shandurai will deal with her impending dilemma.

The story becomes even more engaging as matters are pressed and circumstances develop which make Shandurai's conundrum even more of a moral miasma. Bertolucci draws his audience in by creating a situation so emotionally complex that at times it fairly resonates on the screen. And rather than allowing it to become simply a test of love and loyalty, he takes it much deeper-- so that the real impact of the film stems from the respective stances taken by Shandurai and Mr. Kinsky, as they strive to resolve their personal feelings while attempting to satisfactorily breach this seemingly insurmountable situation. Bertolucci draws a delicate line on which he balances the emotions, actions and reactions of his characters, which pays off handsomely in the end.

The overall success of the film, however, is predicated upon on thing-- that being the performances of Newton and Thewlis; and both deliver, unequivocally. Newton's role is especially challenging, as she has to convey so much through her emotions alone. Her gestures, expressions and mannerisms are her words; and the slightest alteration of any of these-- the slightest arch of an eyebrow, a shifting of the eyes at a particular moment or a barely discernible movement of her lips-- speaks volumes. And for this to be effective, it had to come from a place deep within; mere surface theatrics or any hint of pretentiousness at any time would have dispelled the believability of the character at once-- and Newton not only prevails, but does so overwhelmingly. It's an extremely well realized portrayal of a woman in conflict, facing one of the greatest trials of her life.

Thewlis, as well, gives a resoundingly sympathetic performance as Mr. Kinsky, that would have to be ranked among the best work he's ever done. As with Newton's role, he must convey so much physically, and he does-- turning in a very sensitive, well defined performance through which he employs just the right amount of reserve and restraint as befits the character he is creating. It's an affecting, honest portrayal that makes Mr. Kinsky very real and believable.

The supporting cast includes Claudio Santamaria, John C. Ojwang, Massimo De Rossi, Cyril Nri, Paul Osul and Veronica Lazar. Artistically rendered and subtle in nuance, `Besieged' explores the parameters of love and measures the limits of the boundaries expressed by the heart. An insightful treatise on human nature, it removes one emotional layer after another, right up to the very end-- which is a moment of truth nothing less than sublime. And one that will keep this film in your memory long after the screen has gone dark. I rate this one 8/10.

We have a glimpse of Shandurai's environment in a central African nation where the ruthless military politics take over and screw up her life. Welcome to Bertolucci territory you may think? Not so, we keep clear of the politics and arrive in Italy where Shandurai finds refuge as a maid cleaning a neglected household run by an eccentric lay-about British piano player. Now you may think we have the wrong film! Yes, it is a Bertolucci movie without the Tango In Paris. This is simple Bertolucci at his best. It's about conquering unwanted love the old fashion way, dealt with a sense of mystery and plenty of patience. All the imagery elements fall into place as we journey with Shandurai and her decision. Effective in every way right through to the performances of Newton and Thewlis. A very pleasing film on the senses thanks to Bertolucci who has ventured into the basic fundamentals of low budget cinema.

It's refreshing to have a film that has no special effects, does not have to deliver every word, tell you every step of the plot -- the plot line is implied. It is by showing what is happening and letting us the audience connect the frames.

This film "L'assedio" (The Siege) is more visually expressed vs. through articulating dialog. We are presented with scenes, imageries, expressions, wide or high angle shots through perceptive conscious editing. I especially noted the repeats of the beautiful shadow pattern of the spiral railing leafy design -- 'besieged' in a rather elegant environment (perhaps evident to the audience more than to the central character herself). The besiegement is not exactly physical, it is more of the internal emotional dilemma and struggles our heroine feels. We are shown the various artistic collections and beauty of things around the house as we follow her housekeeping routines. She could very well be too wrapped up in her own world (pursuing her medical studies, preparing for exams, and her flashbacks/dreams of homeland events in Africa) and opened herself not to the other person or what's really around her.

The opening sequence is actually a critical flashback for our heroine Shandurai, portrayed by Thandie Newton (w-d John Duigan's "Flirting" 1989; Jonathan Demme's "Beloved" 1998 with Oprah Winfrey). David Thewlis (w-d Mike Leigh's "Naked" 1993; Jean-Jacque Annaud's "Seven Years in Tibet" 1997 as Brad Pitt's adventurous companion) is Mr. Kinsky, the other part of the quotient in this fable like story that Bertolucci interweaved. Shandurai was from Africa and is now a medical student in Rome, staying at Mr. Kinsky's house where she does daily housekeeping chores in exchange for her own room and board.

There is also a "beseeching" undertone to this tale. He (Mr. Kinsky) the solitary composer/pianist in want of her love. She (Shadurai) the solitary soul 'exiled' from home (Africa) in want of the freedom of her loved one. Trust -- a human dilemma? How do you trust a stranger? Does the person really listen to you? Does s/he hear what you're saying?

Trust in another person, a total stranger, is not easy to come by. Society has made it a norm that you have to earn it -- trust. If you say something or make a request, you don't really expect it to come true. That the other person actually listened and took it to heart and do something about it to make a wish happen is only in dreams! Well, whole-hearted loving is possible and we should not take things for granted.

There are no extraneous frames here. Visual and sound (the music, the piano pieces) are both purposefully fulfilling in unraveling the story. Thewlis delivered a superb subtle performance. Newton followed up her "Beloved" role with equal concentration. Bertolucci weaved his magic once again. What a statement -- what a story he has given us! A beautiful film. A fable, indeed.

The wonderful photography (cinematography by Fabio Cianchetti), especially the use of cast shadows reminded me of the silent B/W German classics by Robert Wiene, "The Cabinet of Dr. Caligari" 1919, in which shadows were used thematically in repeated graphic forms -- very effective filmmaking.

What a lovely film this is! I usually do not go for the kind of heavy-handed aestheticism Bertolucci has been partial to in his last few movies ("Stealing Beauty", "Little Buddha", "The Last Emperor" et al.), so imagine my surprise when this movie turned out to be an exquisitely rendered intimate love story. There are basically only two main characters: Jason Kinsky, a reclusive expatriate British pianist in Rome with an uncertain past (played here with great delicacy and understated charm by David Thewlis, in a 180 degree turnabout from the profane misanthrope he played in "Naked"), and Thandie Newton's Shandurai, his African housekeeper, who fled her strife-torn native country to train as a medical doctor in Rome while supporting herself by performing domestic drudgery. The striking, almost wordless opening sequence serves as an introduction to Shandurai's past. Then the camera rapidly cuts to the present day Rome, where already besotted Kinsky orbits around his beautiful and distant housekeeper, not realizing that her nights are tormented by the memory of her husband, a political prisoner left back in Africa. When Kinky approaches Shandurai with a hasty declaration, he is met with a steely and passionate resistance. Chastened, he retreats into a polite distance from the object of his desire. But from then on, nothing goes as expected. For the rest of the movie is about the change in the balance of this relationship, and the singular way through which the capitulation of Shandurai is achieved. The central sacrifice in the story is a grand romantic gesture of Gastbian proportion, simultaneously selfless and selfish.

I was completely enthralled at the way this movie unraveled itself, layer by delicate layer, with little dialogue but with a kaleidoscope of imagery and most of all, with music. Bertolucci is frequently obssessed with his heroine's beauty, and this is no exception. The camera frequently lingers on the gentle curve of Newton's arm, the slope of her back, and on her great dark eyes. However, Bertolucci has for once given us a compelling female character, a woman of determination as well as beauty, unlike his usual bevy of vacuous/self destructive mannequins (e.g. Liv Tyler in "Stealing Beauty", Dominique Sanda in "1900", etc). Shandurai's new-world vigor and her sense of purpose contrast starkly with Kinsky's aimlessness, his solitude, and especially his music, which permeates the movie with exquisite melancholy (the music consists mainly of solo piano pieces by Bach, Chopin, Scrabin and Coltrane). Likewise, the effect of their relationship on Kinsky is expressed most effectively through the transformation in his music, as primitive beats of Africa are blended into the lyricism of Kinsky's composition.

The movie is short, sparse and as different as night and day from the usually action-driven fares of Hollywood. Bertolucci, in a rare form, has fashioned a truly adult film that deftly navigates through the complexities of the human heart.

I thought this was an extraordinarily beautiful film. The care and complexity of the cinematography was truly breathtaking. The acting was superb as well. I couldn't help feeling, though, that the emotion at the core (Kinsky's "love" of Shandurai) was more an evocation of an older man's (Bertolucci's) fantasy world of women. I found the emotional exploitation of Shandurai unpardonable. Here is a woman who has lost everything, and then gives up her respect and dignity because her employer gets her husband out of jail (the image of her sneaking into his bed, giving herself to him like a servant was belittling). I would have found the film truly bittersweet and empowering had Kinsky sacrificed so much and gained nothing.

Looks to me like old man Bertolucci is losing his hand. His chronicles of unrequited love and passion gone mad have grown ever less poignant since "Last Tango" (his apex IMHO), as "Stealing Beauty" had shown us before. Here we have an implausible refugee (carried out with talent by the still not mature, though very promising, Thandie Newton) from an imaginary African nation meet with her also unlikely English landlord and boss (in Rome, of all places!) and how the story of their difficult relationship unfolds. Add to that some vague references to political disturbance in said imaginary country and a distant husband held as a political prisoner, stir well and presto: instant artistic film with political undertones. Sadly, inspiration was not one of the ingredients in the mixture and the result shows: not so subtle camera tricks, sparse and boring dialogue. View it if you must (if you are a fan of Bertolucci's, as I confess to being) but this is far away from his best.

Take everything you ever knew about Hollywood and filmdom and flush it. Open you mind and your heart and, if you're lucky, "Besieged" will speak to you of love like no other. Make no mistake, this film is not about romance or sex or even closeness. It is about what love should be; pure, unsolicited, unencumbered giving. It is a sad testament to the shallowness of popular concepts of giving-to-get love that this film received lukewarm reviews, one star from Ebert, and a mere 6.5 by IMDB.com users. Sometimes the only way to love someone is to set them free.

1st watched 9/4/2005, 7 out of 10(Dir-Bernardo Bertolucci): Wonderfully, artistically-told story of an African woman who loses her husband to the authorities for what appears to be political reasons and is thrown in jail. She then moves into a building owned by an eccentric piano player as his maid and begins going thru medical school at the same time. Mr. Kinsky, played by David Thewlis, is infatuated with her very early on and even states that he loves her but her response is basically, show me by getting my husband out of jail. Kinsky then very secretly pursues this. Much of the story is shown to us visually and we kind of have to figure out what's going on which is an extremely fascinating use of visuals rather than dialogue that is so un-American and very European in it's style. The story unfolds not unlike a piano concerto before our eyes as the pieces of the puzzle start fitting together and Bertolucci gets us to watch the characters and be interested in them as they're going thru this. Even after Oscar wins and at an elderly age, Bertolucci is still making extremely character driven artistic movies that are each one of a kind and this one doesn't disappoint either.

What to say? Besieged is a timeless, unabashedly romantic masterpiece. Poetic and original, this movie studies two people locked in a slow dance of seduction. Based on James Lasdun's short story, "The Siege", the film reveals that love need not not be reduced to self-satisfaction and immediate gratification or communication to trifling words. Can love transcend ostensibly insurmountable objects before the principle characters (such as the dizzying height of the spiral staircase)? Perhaps. One thing is for sure: this film will strike a resounding chord in your heart! Not only does the glorious music speak volumes of the character and background of Mr. Kinsky, a wealthy European pianist, and his live-in housekeeper, Shandurai, it also pitch-perfectly articulates feelings too buried for either to verbalize. Indeed, when used as a medium to express emotions, music is much more effective than words. In the few instances they make eye contact, words seem to be superfluous. With minimal dialogue, it's incredible how Shandurai and Kinsky find ways to communicate and impact the other's life. The collision of their two worlds is celebrated in the hauntingly beautiful piece Kinsky composes for Shandurai,"Ostinato". The sounds and the deafening silences, the sights and the suspicious disappearances are all exquisitely executed by Bertolucci. With Claire Peploe, he fashions a tale that is at once simple and profound. Bringing the story to life is a powerhouse cast. Thandie Newton as the beleaguered and reticent Shandurai is a revelation. David Thewlis as the lovelorn, crafty, idiosyncratic ideograph Kinsky is way beyond "good enough". His portrayal of a man who achieves liberation through sacrifice is captivating. Also marvellous are the performances of John C. Ojwang as the griot and Claudio Santamaria as the buddy. Unlike the majority of movies that will be released this year, this one will etch an indelible impression on your mind and spirit. But now I've said too much?

A lot of reviews of BESIEGED said Bernardo Bertolucci was returning to LAST TANGO IN PARIS territory. That may very well be true, but there's one distinction about TANGO which Bertolucci should have remembered; in TANGO, it was a story between two fully realized characters(we may remember the movie for Brando, for better or worse, but Maria Schneider was every bit his equal), and so it resonates long afterwards. In this movie, on the other hand, we get every sense of Thandie Newton, through her acting(as this and previous works such as BELOVED prove, she's one of the most expressive actors out there), and through the gorgeous use of imagery and music, especially in the Africa scenes(if it wasn't for the fact that there's a film coming out next year with that name, this might be called I DREAMED OF AFRICA). Even though very little dialogue is used, we get a history and arc to her, so we care what happens to her.

But a love story, which this purports to be, is best when it's two equals. What of David Thewlis here? Well, we get a sense of his piano playing, which changes the longer Newton stays around(the scene where he incorporates African type rhythms into his music is quite good). And certainly his actions speak for themselves(he's clearly trying to free her husband). But still, he remains closed off from us; not as an enigma, but as in not expressive. It doesn't help that Thewlis is probably more suited to a role where he has more dialogue(he can be expressive, as he showed in NAKED), and seems lost here. But we never really get a sense of him, so when the two finally come together, it doesn't move us the way it should.

Still, the other half of the film, Newton's half, does work enough for me to recommend the film. And while I am a fan of good dialogue, it didn't bother me how little there was here.

I must admit I was greatly anticipating Bertolucci's new film. After seeing the film I must admit I am somewhat disappointed. Firstly some good points. It was beautifully filmed and reminded me that Rome is one of the most interesting and indeed cinema-friendly cities in the world. The character building through gesture and poise was well done and indeed some of the scenes were pure genius. But on the other side this film was laboured and unwieldy. Where so much could have been made of the storyline, even whilst retaining the minimalist dialogue, Bertolucci failed to engage the audience with the character's struggle. The brilliant quirkiness and shy demeanour generated by David Thewlis could have been used to advance the audience's appreciation and understanding of the film. Instead they were increasingly used as the film went on to isolate and even intimidate the audience. Perhaps this was Bertolucci's intention but I think the film suffered rather than prospered from the ploy. I wouldn't have missed Besieged but overall I must admit I did not think it was up to Bertolucci's usual standard. 5/10

I stumbled upon Besieged on TV. The film's views of Rome brought back my homesickness. It's funny how, to me, Lazio's natural summer light reminded me a bit of a similar luminescence in next-door France. Lazio is the region in central Italy where Rome is located. I found the film and its premise intriguing even though one might do well to doubt that the dynamics in Besieged reflect what usually takes place between many women refugees and local men in countries of refuge. Yet this film does shed light on two people in a situation where marginalised Blacks such as refugees (including in Europe) are largely ignored and actively rendered transparent or totally invisible in all forms of media. The African refugee housekeeper role is a good one for actress Thandie Newton, who actually is African and European, and not Black American as some roles she's taken. Interesting that Newton's character in Besieged is a refugee and a student. Perhaps a metaphor for the difficult present and brighter future, and maybe even a future that's relatively secure. In Italy and elsewhere in Europe daily life for African refugees is quite difficult. So I wonder exactly how many refugees and Black women refugees in Rome, in Europe and elsewhere actually are able and allowed to do academic studies in their country of refuge. Few to none, I suspect. On another note, isn't David Thewlis physically miscast? Sorry. In the film he portrays an expat Brit pianist living in Rome, and in whose home Newton's character works. But there's just something about the actor that makes him less than credible as a man whom some women might see as attractive. Is Thewlis trying to project a more "macho" stance for his character? That perception may be wrong but it feels that way to me. I also find Thewlis's overbite... distracting. Back to the interpersonal. In one scene Newton's character goes dancing with a male friend. It's a bit amusing to wonder how that scene might look and feel if Thewlis's character as portrayed would have gone out with the same friend. Even platonically. De toutes facons I am proud of this Bernardo Bertolucci film and the fact it's an Italian production. Despite the "woman's man" 'believability' problem for Thewlis and his character, I intend to see Besieged at least once again.

"Besieged" plays out like a confused, misguided remake of Bernardo Bertolucci's much more assured "Last Tango in Paris." It is an ineffective combination of political and romantic drama, meandering back and forth between the two and never really concentrating on either. The film has an interesting setup, with the imprisonment of Shandurai's husband and the emotional instability of Kinsky, but the story gradually falls apart after that. There is no real emotional force driving the events in the film; the audience is kept at a distance by the cold, almost passionless tone, and there is never any satisfying realization of Shandurai's sadness or Kinsky's self-loathing.

Having said that, there's still a fine performance by Thandie Newton in the lead, and the always interesting David Thewlis does a fairly competent job as the eccentric pianist. But Bertolucci's inability to balance out the two halves of the story constituted by these performances impede the characters from reaching their full potential, and robs us of what could have been a fascinating drama.

After the first few minutes I knew I could just relax and enjoy this film -- that it would be well-acted, subtle, visually appealing and well-edited. Bertolucci presents an engaging variation of a love triangle with his characteristic sensitivity and attention to detail.

How wonderful to see a film in which the range of human emotions is revealed by acting instead of with clumsy or forced dialogue. We see his hand linger on her dress draped over a chair in her vacant room, her evolving and conflicting attraction and doubts shown in her gestures and expressions -- nothing overstated, much left to the imagination.

The musical score (Chopin, Coltrane, Keita and others) is in itself totally enjoyable as it binds together the images and themes of this fine film. Bertolucci's editing is superb. The film's climax and ending are, well, perfect.

Nine out of ten, maybe more -- I'll be seeing it again soon.

Glad I did not listen to Roger Ebert's review.Well he gave two thumb's up for Speed 2(that says a lot in itself).This movie represents true cinema.The camera movements are very hypnotic and the performances are truly truly captivating.The other movie in recent years that impressed me this much was cinema paradiso.

Saw this movie at the Italian premiere. The movie is really marvellous. One of the best Bertolucci ever made. I'm not interested in explaining the themes of the movie or the story itself, I prefer spending some words on the work of the director; fast, short, colorful and sensual are the right adjectives to describe Bertolucci's new way to direct. Let's think about "The Last Emperor" or "Little Buddha" and of their big dimensions. They were full of opulence. "L'Assedio" is not. Just the opposite. Intimate, short and light but at the same time full of emotions. Bertolucci's fans could recognize the presence of the director's touch also in this film.

Very few times do I see movies that leave me with no emotion other than boredom. This is one of those few movies. I don't recall seeing any of Berdolucci's earlier work, but he possesses a knack for assembling images. He's definitely a fine visual artist, and I felt some of the sets were beautiful, as well as the music. Unfortunately, the script might as well have been a series of blank pages. I'm sure many will praise the film because of its lack of dialogue, and how artful that is since so many modern films depend too much on dialogue. Well, that may be true, but no dialogue alone doesn't make a movie work. "In the Bedroom" contained long scenes with no dialogue, but the silent images helped tell the story, and the brilliant facial expressions by both Tom Wilkinson and Sissy Spacek gave the audience great insight into how they were feeling. I'm not bashing the actors in this movie, and Thandie Newton and David Thewlis are both genuinely talented, but they're not given much to work with. The story contains very little conflict. At times the love affair between Newton and Thewlis seems to be forgotten, and the whole affair itself contains no passion.

You know a movie's awful when it has NO effect on you. It didn't make me angry, it didn't annoy me, it didn't repulse me, it did nothing! And even at 90 minutes, it felt like a miniseries!

My score: 2 (out of 10)

Picture David Thewlis as a romantic lead. Picture Thandie Newton as a softer character than she normally portrays.

If you cannot, this is a must see. Thewlis and Newton have electrostatic chemistry. The tension and passion between the two main characters is palpable.

Bertolucci again shows us love. Love in a very human and imperfect situation. The film may be a little slow for some. But it's a welcome change of pace.

It will leave you asking yourself what you would do in a similar situation.

I fail to understand where all these 8, 9 & 10 votes come from... the film is more concerned with cinematography than telling a story.

OK it was beautifully done, but there was nothing in the story that couldn't have been told in half the time - and then used the other half to fill us in on the background and the results (did he pay for it?, did she go back to him?).

As it stands, the most memorable thing about the film is the introductory sequence featuring that wonderful music, from-the-bones singing and later on the wonderful facial contortions from John C. Ojwang.

5/10

Promising med student Thandie Newton (BELOVED, who is still not afraid to pee and slobber on camera) cleans Italian villa of eccentric English piano teacher (David Thewlis, THE BIG LEBOWSKI) after fleeing dictatorial takeover in her native Africa, her school teacher husband imprisoned. After a series of awkward encounters, the two warm to each other, their musics blend, and expensive objects are sold for a reason. Selections by Mozart, Scriabin, Bach, and a fascinating J.C. Ojwang, who functions as an agitating one-man chorus during the first half. Those who came to this for Bertolucci because of a vague memory of LAST TANGO IN PARIS (1973) and for Newton because she is black will get to see fine acting, great camera work and scenery, real Africans, the streets of Rome, and to hear excellent piano playing by Stefano Arnaldi, and, hopefully, not be disappointed that they weren't force-fed any scenes with chickens or homies gettin' shot up in the 'hood to a gangsta rap soundtrack.

Although I attend the movie theater approximately twice a month and watch at least 1 movie a week, Besieged is by far the best film I've seen in 20 years. Actually, I've watched this movie three times in less than a month, and each time was just as thrilling as the first. The story impressed me deeply, the actors performed exceptionally, each screen appeared to be filmed with the utmost precision and beauty, and the music was absolutely riveting. Besieged is an outstanding demonstration of how the power of love transforms.

Bertolucci's lush photography is mirrored by the velvety performances of the two co-stars. There's nothing fancy here. The lighting, camera angles, and other directorial touches support and do not supplant a simple story of two people whose generosity prompts them to take important actions independently. It is Thandie Newton's movie all the way (for that matter, so was "Flirting" almost ten years ago, and she is grown up now, yet with still that wistful, girlish smile). But David Thewlis is quirky enouhg to be believable. The fairy tale works. Bravo, Bernardo!

After watching this movie for 30 minutes, I fell fast asleep. I didn't wake up until the ending credits. My friend, who managed to watch the entire film, said she wish she could have joined me in slumber. Truly boring film!