(aka "No te muevas" or "Don't Move")

directed by Sergio Castellitto

Italy / Spain / UK 2004

Say what you will about Penelope Cruz’s less challenging roles in American films, but her work in foreign cinema has rarely failed to impress me. If there’s a single person to thank, the talented actress is obviously indebted to writer/director Pedro Almodovar for providing her with colorful and spirited characters since her brief role in “Live Flesh” (1997). Although Cruz chose to work in the more profitable Hollywood system after the international success of “All About My Mother” (1999), she recently collaborated with Almodovar again in the Cannes’ favorite “Volver” (2006). Critics universally lauded her performance, and she was awarded the female acting prize jointly with a cast of Almodovar regulars. Though Cruz is frequently noted for her collaborations with Almodovar, she conveyed a noteworthy performance in 2004’s “Don’t Move” that received praise from the international press. However, due to the film’s unpleasant subject matter, it failed to find an audience in North America.

“Don’t Move,” at its core, is a soap opera with plenty of sex and nudity. Dr Timoteo Rossi (Sergio Castellitto) is haunted by a tragic car accident involving his daughter, Angela (Elena Perino). Left comatose by a near-fatal head injury, Angela lies lifeless and bed-ridden. Her poor condition encourages Timoteo to reconsider his own life and a past affair. Before his daughter was born, Timoteo was lost in his marriage and found solace in an affair with a hotel maid, Italia (Penelope Cruz). Timoteo considered leaving his wife, Elsa (Claudia Gerini), for Italia, but Elsa became pregnant with Angela. A bitter end to his relationship with Italia ensued, and Timoteo returned to his family. In light of the recent tragedy, Timoteo desperately recalls memories of his true love for comfort and inspiration.

If you’ve seen “Monster” (2003), I’m sure you’re aware that it’s quite a difficult task to forget the images of Charlize Theron’s grizzly transformation into a murderous prostitute. In “Don’t Move,” Penelope Cruz proceeds through a vaguely similar transformation as a poverty-stricken woman haunted by experiences of rape and an abusive childhood. Where Theron’s performance is overstated and perhaps too exaggerated for the film’s good, Cruz is alternately detached and occasionally intense at opportune moments. Her approach to her character’s sexuality clearly signals an unpleasant past, and it’s particularly in the small moments, with a patient and heartfelt disposition, that Cruz offers a profoundly layered characterization. It’s remarkable that Cruz can convey so much history in a character without saying a single word.

Keep in mind that I am in no way demeaning Theron’s performance; rather, I’m suggesting another example of a vastly different approach to method acting--one that, in my opinion, is superior. In these two films, each forcefully driven by female lead performances, it was Theron’s performance that was universally acknowledged while Cruz’s remains an afterthought.

“Don’t Move” is adapted from a novel written by Margaret Mazzantini. The novel has been a substantial commercial success and is an international bestseller. However, the novel was also known for its melodramatic subject matter--a problem that developed into the film’s major flaw. Mazzantini’s prose flows brilliantly, and her lush descriptions enrapture and connect the reader with her characters. The film is forced to compromise certain aspects of the novel. Star, writer, and director Sergio Castellitto attempts to compensate for the film’s plot with a sumptuous visual style, which is well complimented by Cruz’s pitch-perfect performance and his own demanding take on a character with severe emotional instability. Nonetheless, amidst all the emotional intensity is a story that is underdeveloped and plagued by awkward staging (re: the use of music and in particular Europe’s “The Final Countdown”). It’s almost immediately obvious that the film is weakened by a lack of logical character motivations--particularly when Timoteo (Castellitto) relates his inconsistent life philosophies. Unfortunately, Castellitto has misplaced his attempts to invoke a need for empathy and understanding for his characters, and consequently, “Don’t Move” is a relatively hollow experience.

Apparently, there was a big fuss from the producers of “Don’t Move” when Penelope Cruz failed to be nominated for Best Actress at the Academy Awards. Their cause may be justified given the gravity of Cruz’s performance, but realistically, the Academy rarely acknowledges actresses in foreign films. Taking into consideration all the talent involved (especially Cruz), it’s really a shame that the film doesn’t become what everyone involved would have hoped, especially when nothing substantial has materialized for Castellitto since this film’s release.

Kurtis Beard

Posters

Theatrical Release: March 12, 2004 (Italy), December 17, 2004 (USA)

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DVD Comparison:

Medusa (2-Disc Special Edition) - Region 2 - PAL vs. Wellspring - Region 1 - NTSC

Big thanks to Per-Olof Strandberg and Kurtis Beard for the Screen Caps!

(Medusa (2-Disc Special Edition) - Region 2 - PAL - LEFT vs. Wellspring - Region 1 - NTSC - RIGHT)

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