The Son's Room

THE SON'S ROOM (2002) ***1/2 (ITALIAN W/SUBTITLES) Nanni Moretti, Laura Morante, Giuseppe Sanfelice, Jasmine Trinca, Sofia Vigliar. Excellently realized depiction of a loving Italian family who find themselves questioning a bleak future when a tragedy strikes shaking them out of their idealized trappings and seeking resolution to unanswered questions. Moretti, one of Italy's finest comedians, does a superb low-key job here in acting, directing and co-writing (with Linda Ferri and Heldrun Schleef) while maintaining an even-keeled balance of emotions, high and low, throughout thanks also to his talented cast. Haunting, humane and ultimately heart-rending yet never condescending and a final note: one of the most naturally performed interpretation of a nuclear family that truly loves one another equally; a damn rare thing to marvel.

Nanni Moretti's deserved winner of the Palme D'Or was a controversial choice, if only because it is a film grounded in reality and truth. We know these characters for a change, they are the neighbours whom we fear approach because of their loss and raw pain.

Moretti, in his subtle yet magnificent performance and in his deft, assured direction, has crafted a film which transcends cliche and sentimentality in spite of its well trodden subject matter. As in his earlier effort, 'Caro Diario' the viewer is held transfixed by his languid cinematic storytelling, which is nonetheless riveting.

Without resorting to pat endings or easy solutions to the characters' individual suffering (beautifully rendered by each of the performers, whose roles portray distinct yet relevant facets of grief) the film manages a redemption in unexpected, yet highly satisfying, fashion. I left the screening at the Toronto International Film Festival feeling completely exhilarated and grateful to this natural filmmaker.

A beautiful portrait of true, real emotion.

This is one of the movies I wouldn't like to rate. But I would recommend each and everyone of you to watch it. I'm sucker for Palme D'or winners and how could I miss this one? I'm pretty sure the concept of losing out a family member have been explored by many directors, but there is something unique about this one. Directing himself in the movie (I really think it's a very difficult job to do that), Nanni Moretti hasn't put a foot wrong. And, if you're looking for a very good screenplay and some breathtaking cinematography, this is not your thing. This movie is all about actors pouring out their emotions on screen and a really sweet background score. What got me raving about the movie is how we blame every single action of ours when things don't go our way (I think majority of us to do that). La Stanza Del Figlio is simplicity personified. I'd say a must watch.

Moretti becomes more mature, more intimate, more personal. While playing an increasing role in Italian politics (with his movement of opposition to the right-wing government), in his films he has abandoned the sharp political criticism of his debut (Ecce Bombo, Io sono un Autarchico), and the cynical and funny social observations of "Bianca," "Palombella Rossa," and "Caro Diario" to give us a compelling portrait of grief.

A noticeable thing about this film is that the stupidity and ignorance of the MPAA gave it an R rating. Apparently, according to the MPAA, teenagers are welcome to see the stupid violence of "Independence Day," or the idiotic cardboard characters of "Spider Man" (both rated PG-13), but should not, except under adult supervision, know that the death of a teenage child is a shocking and traumatizing experience for a family, and could shatter their painfully constructed unity.

The decision of the MPAA provoked outrage in Italy and surprise in Europe. It is amazing that people of such obvious ignorance should be allowed to make such crucial decisions: they should be held responsible for the garbage they feed to teenagers, and for keeping them away from meaningful films.

a film like a parable. fresh, honest. and cruel. because it is only reflection of ordinary reality. nothing else. a ladder of regrets, angry and lost of axis. a tragedy but in a special form. because its heart is fragility. with many nuances and games of nuances. with words as circle of deep silence and fear as wall for self protection. it is beautiful because it is wise image of a piece from society. with many definitions, all fragile, with many crumbs of joy, hope and sadness. and with bones of grief. like a confession. like mask for survive. like smoke bridge.so, nothing new. only slices of search for sense. and the silhouette of escape territory.