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Film of the Week - January 19

Somewhere Sofia Coppola

Synopsis

Johnny Bravo is a Hollywood star: he lives in the legendary Chateau Marmont hotel, spends his days between alcohol and women, makeup sessions and press conferences, receives invitations from around the world and also has an eleven year old daughter who rarely seen. Only when it is to spend more time with her understand what is the affection and, above all, what's enviable life is really an insignificant number of events.

Somewhere, the film won the Golden Lion last Venice, represents a new foray Sofia Coppola physical and moral vacuum in the film, after Lost in Translation (2003). Telling the story of a non-actor that profligate spending days with his daughter and realizes he wasted his life, Coppola returns to the alienation and irony of his most famous film, return even the stillness of the gaze and amazement wounded in front of the flashy costumes and phony show business.

For this reason, the film does not look like the original or surprising, but the screen lights up with its minimal. Sofia Coppola has talent, no doubt about this, and although he works more on the same elements (the loneliness of the individual in the face of reality and history, the disconnect between perception and experience, the dialogue between innocence and wonder ), his film is great fun and who knows how to move sections.

From The Virgin Suicides Lost in Translation to the Coppola has always imposed bully his world apart. Actor Johnny Mark, as the Italian-American director, lives in the legendary Chateau Marmont camped, built in '27, smelling of legends, ancient and European enough to be out of fashion: the stars, from Boris Karloff to Greta Garbo, James Dean Marilyn Monroe, Paul Newman, who lived at certain times of the lotus lives in small apartments who know Loire Valley. A simple place, as it often is Los Angeles where John Belushi thought well of tangled until his death in 1982. This is where Johnny Mark lives his non-life, low-cut but unable to lift ourselves from the world outside, inside the system but only able to suffer it. Are tangled up, drunk and falls asleep in front of the lap dance of two popcorn venus (in one of the most brilliant scenes the film, in which one understands the trick of seduction portable and removable), entertainment for children of the divine catatonic, required to set photographs and press conferences surreal. Johnny Mark is a "nullity", has done drama schools, is a star by accident, not by chance that we hear things like: "I am not a person." But it is pretty and like, girls like eating cake, with acts from automatic, and goes to sleep between my legs last conquest. Until

Cleo arrives on the scene, eleven years, his daughter. And the film is a remake of Lost in Translation , if possible, even in the most lucid discussion of the existential void of its protagonist. Sofia Coppola fishing in the archive memory of Francis Ford , when my father dragged her for hotels all over the world. But I also think the film that Coppola did when his father began to make great cinema in the '70s as a friend and colleague Peter Bogdanovich that with the magnificent and forgotten Paper Moon already recounted the difficult relationship between a father and baby daughter as a funny comic-philosophical treaty to Peanuts, as if the characters were so many Snoopy, Charlie Brown, Linus or intent to look at the stars around while someone is agitated.

The only time the Coppola seems to tread in the hand out the game easy but always fascinating irony, grotesque and absurd, is when the Hollywood star and her daughter flying to Italy to withdraw Telegatto. The situation is a bit exaggerated and even 'demeaning (ok that sucks, but do not put stuff like that scene in that way even in the days of Ocean's Eleven), but it makes a precise dramatic separation between reality and his sham. What you see at the cinema (and television) is a miserable-looking curtain raiser between the appearances of obscene Simont Ventura, Maurizio Nichetti, Nino Frassica, Valeria Marini and Laura Chiatti that will play well for those concerned ironic, but for the Coppola represent the recurrence of a nightmare that he must have scored when he accompanied his father at an award ceremony.

The film then takes over the story again and incarta nothing left except the knowledge that everything flows, nothing remains in his hands who tried to seize on this (his father abandoned his daughter again and knows it can be missed at any moment). The only sure thing is the camera, the unique look, the only real presence in the film, the only instrument able to conceive the annihilation of the inner character.