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In the 18th century Countess Carlotta (Isabelle Hupert) encounters her love of 20 years ago, one Baron Eduardo (Jean-Hugues Anglade). They reform their affinity and marry. One year later we find them happily at home in the Baron's Tuscan villa, a home the Baron adores for its geometric beauty (science) and Carlotta loves for its artistic aura (art). Eduardo wants to complete the buildings on their vast land holdings in Tuscany and convinces Carlotta to allow him to invite a famous architect Ottone (Fabrizio Bentivoglio), long a cherished childhood friend, to move in with them to complete the architectural possibilities the site offers. Carlotta has premonitions of bad omens and decides to invite her somewhat neurotic, asocial goddaughter Ottilia (Marie Gillain) to move in with the growing household and to be company to Ottone. After endless talking sprees there develops an affinity between Carlotta and Ottone and an equally strong one between Eduardo and Ottilia. Clandestine encounters become public when Carlotta discovers she is pregnant, the baby is born, looking very much like Ottone!, and a tragedy occurs when Ottilia is caring for the baby: the baby drowns. Ottilia return to her neurotic shell of isolation, the affairs are discovered and tragedies continue. There really is no ending to the story: it just stops.Read more ›
I will basically conclude here with these few thoughts: If this had not been an adaptation of a Goethe novel,a period piece of the 1800's, lavishly shot in breathtaking Tuscany, and starring Isabelle Huppert, I would have NEVER completed this positively insufferable movie.It is that bad! I would have loved to be more generous and genial in my remarks, but this truly was mind-numbingly horrible. Spoken in very rapid Italian (one fights to keep up with the whirlingly fast and long yellow subtitles!) with positively ridiculous closeup (no less) voiceovers for the French Huppert,the acting is as wooden as a nutcracker in a ballet (actually a nutcracker would have been more interesting!) Huppert, who has seen moments of brilliance on screen, follows the same line of tiresome icyness as she portrayed in MADAME BOVARY.The rest of the actors are completely forgettable.
Apart from the cinematography, this film would have been 0 stars.
Most Recent Customer Reviews
In this work, Goethe carves in relief the might presence of love as natural mainstream against the human law, in discord with the ethical principle, as he did it in Werther. Read morePublished on December 23, 2009 by Hiram Gòmez Pardo Venezuela
I was going to write a review of this, but there is little I can add to Peter Shelley's very perceptive review. I will relate my experience with the video. Read morePublished on February 11, 2001 by Dennis Littrell