LA BIONDA (1996, THE BLONDE), is an Italian movie but also perfectly
suitable for European tastes and theatres, seeking to capitalize on
Nastassja Kinski who at the time was in her mid-30's and had a proven
track record in drawing large audiences, like any number of big stars
who were at their peak back in the 1980's.
For those viewers who are fans of romanticism on the silver screen,
this is their gig, especially those who have learned themselves in
life or witnessed others who showed a huge heart, idealism, a
selfless dream or infatuation with a woman, idea, dream despite their
human shortcomings, physical handicaps, etc.
In this movie, we Sergio Rubini, (who resembles the French singer
and TV personality Patrick Bruel), plays a student in a clock/ watch
professional repair school, leaving his girlfriend back home, while
he's occupying an empty apartment in Milan for the duration of his
training. Despite walking with a cane, due to a bad leg, Rubini shows
to be an honest, modest, decent, upstanding citizen who is trying to
make a place for himself in this world.
Rubini gets involved in a road accident, resulting in a 48 hour loss
of memory for Kinski, (a pedestrian) who loses her notion of self
identity. As such, she first becomes a close friend of Rubini's by
seducing him, and then a one night stand, as natural impulses
momentarily overwhelm both in their perception of isolation.
The action unfolds convincingly, realistically, with sufficient charm
and suspense to keep the audience's interest alive throughout,
culminating in a car chase, and a gun battle.
The filming is standard fare, professional theatre quality, with a
notable skill in filming night scenes (clear, sharp, impeccable
througout.)
The soundtrack perhaps intentionally or not, is split 50/50, ranging
between at times cheesy 1970's ambience music, with dollar store
grade synthesizer effects, to acceptable saxophone solos and other
accompaniment that throughful and appropriate.
Wishing to maintain her reputation as a femme fatale, and responding
to a segment of the ticket goer's expectations, there are a few
moments in the movie, where Kinski responds to her gangster partner's
libido, the latter having immodest and spontaneous urges.
For those not from Italy, there's quite a bit of panoramic outdoor
shots of Milan, of historical momuments, buildings and its
architectural legacy, with a bit of noon hour downtown modern
traffic, typical of any city of the size of Milan.
From the human point of view, and since Kinski is seen manipulating
her partner, mixing business with pleasure, and secretly preparing a
drug burn, after she recovers her memory, the movie suggests that
it's a fact of life that one's human nature, the underlying,
simplistic, basic preferences, at times romantic ones, are
overwhelmed with rational, intellectual, strategic and monetary
objectives. Repressed feelings also stem from from one's social
upbringing (mores, norms) and educational background. Rubini drives a
Fiat Panda small car, while Kinski drives a BMW, in an expensive
home, in a prime spot in the city. Kinski dumps Rubini for all those
reasons, as she pursues her goal of a big score, on her mark, her
big shot boyfriend.
The audience may appreciate Rubini's character who overcomes his
physical ailment, in a selfless pursuit of his infatuation with his
one night stand, Kinski, to the point of ditching, as he's drawn to
her like a moth to a burning light bulb. I would give 3 stars, if not
for Kinksi's one-trick pony facial expressions and acting, a bit
repetitive.
