Youth is another interesting, luminous film from
writer/director Paolo Sorrentino, his follow up to 2013’s award winning The Great Beauty. I
found each to be intellectually and emotionally exhilarating, pictures that stimulated
and stayed with me for some time. The critical consensus seems to be that the
earlier movie is the better of the two, and I’d probably agree, but not by
much. My other household expert prefers Youth. [Check out my
review of The Great Beauty HERE.]
Youth may be, for Americans at least, the more
approachable movie of the two. For one thing it is in English, thus no
subtitles to deal with, so the nuance of actors’ expression are perhaps more
readily understood. The storyline is also tighter and the inquiries at the core
of the film are narrower, a bit more focused. At just over two hours, Youth
is twenty minutes shorter than The Great Beauty, as well. Youth
also features more recognizable stars, including Oscar winners Michael Caine
(The Quiet American), Rachel Weisz (The Constant Gardener) and Jane Fonda
(Julia) Oscar nominee Harvey Keitel (Bugsy, Taxi Driver), and up-and-coming
star Paul Dano (Love and Mercy).
The setting of Youth is an elegant resort in the
Swiss Alps, kind of an updated version of the Grand Budapest Hotel transported to Switzerland – a vacation retreat for the rich, redolent of the remote, peaceful sanitarium in The Magic Mountain
(one where, however, TB is not a prerequisite for entry). In addition to its beautiful location, the
resort features a relaxingly slow pace and all the amenities one would want –
fine dining, a health spa, country walks, a climbing gym, ski runs, medical
care, lounges, swimming pools, evening entertainment, people watching, nudity,
quietude. The clientele includes a diverse cast of characters: a Hollywood movie
star called Jimmy Tree (Dano), a world famous former soccer superstar (now
grossly obese), a masseuse with a magical touch, an elegant couple who never
speak, an orange robed meditating monk, and the pop star Paloma Faith; as well
as our protagonists, aging film director Mick Boyle (Keitel) and retired
classical composer/conductor Fred Ballinger (Caine), along with Ballinger’s
adult daughter, Lena (Weisz), who is also his personal assistant. (Any
meaningful description about Jane
Fonda’s role could be a spoiler.)
Fred and Mick have been friends for sixty years, and while
both are elderly and regularly commiserate about looming decrepitude (a running
joke is their daily exchange on the futility of pissing), in other
respects they present some telling
differences.
Early in the picture, an emissary from Queen Elizabeth arrives
with an invitation for Fred to conduct Simple Songs, his most famous work, for
Prince Phillip’s birthday celebration at Buckingham Palace. A knighthood is
proffered if he will accept, but Fred declines, adamantly - citing “personal reasons”. To Lena’s repeatedly voiced
concern that he is too apathetic, Fred responds, “ I’m retired, I’m done – with work and with
life.” Perhaps she’s right?
By contrast, Mick is engaged in his latest project– working
with a posse of young cineastes fresh out of film school to complete a screenplay
for a new movie with the operating title
“Life’s Last Day”, which Mick proclaims will be his magnum opus, his
testament.
Lena faces an unexpected and devastating emotional
crisis as her marriage crumbles, and out of her grief repressed anger at
her father resurfaces. Meanwhile, actor Jimmy Tree, researching an upcoming role, is
studying everyone, cozying up to some, picking up mannerisms, sussing out their
stories (and in so doing helping us notice things).
Everyone, seemingly, is at a crossroads. Fred and Mick each have tasted success, but while career continues to be a motivator
for Mick, Fred’s thoughts are elsewhere. As you’d expect with octogenarians,
there’s an attempt at a summing up - looking back at what life has wrought, at former
loves, past mistakes, paths not taken. An ongoing pastime is checking out other
denizens of the hotel, guests as well as staff; Mick and Fred (and we) size
them up, reflecting on how these others may mirror or provide insight about
their (our) own lives and what may lie ahead. Jimmy’s observations raise
questions about the value and appropriate use of his craft. Lena catches the
scent of newfound freedom, an opportunity to build a new and different life for
herself.
Thematically, Youth reminded me of Soren Kierkegaard’s aphorism “Life may be
understood backwards, but it must be lived forwards.” The film’s observations are frequently lovely and
insightful, sometimes rueful (as when Mick visualizes all of the women he mentored/directed
in his past movies), sometimes humorous (for example, a lovely, wryly funny
nude scene, featuring a stunning Miss Universe [Madalina Ghenea]), and sometimes
surprisingly sweet, such as a moment where Fred, sitting alone on a hillside
overlooking a cow pasture, seemingly “conducts” a bovine orchestra.
As with The Great Beauty , the photography is
top-notch and sometimes stunning.
The performances are terrific. The score and soundtrack are
important and arresting (except the opening song, a number called “You Got The
Love” - thematically appropriate but not likely to be a chart topper). Simple Song #3, part of Fred’s masterpiece,
Simple Songs, gets a gorgeous, moving rendition at the end and, coming after
what we have learned along the away, may (if you are like me) stimulate the
tear ducts.
Why the title, “Youth”?
As they say, you’re only as old as you feel. Life is desire, aspiration,
and engagement, is it not? As Edgar Allen Poe wisely noted: “The best things in
life make you sweaty.” Put more simply, life is for living, and if you embrace
life you’ve got youth. But I’m no
philosopher (clearly); and Youth, the movie, is not quite so explicit.
You should just see it (you’ll thank me). Then you can decide
for yourself.
2 hours 4 minutes
Despite the title, the film is rated R, so not for youths.
Available to rent, streaming from Amazon Instant Video, iTunes, Vudu and elsewhere; and on DVD
from Netflix.
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