User reviews

I was amused and entertained. Taken, very taken by how seriously it takes itself but I don't mean that in an patronizing way. For those people the subject treated is of paramount importance. The past and the future mingling in a world where profit commands. The young son, a stunning, Flavio Parenti, is the one attached to the old traditions. A rich capitalist with a socialist sensibility. Tilda Swinton runs the gamut of emotions and she does it beautifully. Details are terribly important here and, I must confess, I thought of Visconti, specially because Violante Visconte di Modrone is part of the cast. Who is Mr Guadagnino, the director? Where does he come from? He seems incredibly sure of himself. Costumes, interiors, landscapes are a visual feast. The score is also a very bold touch. Marisa Berenson (Barry Lyndon) and Gabriele Ferzzetti (L'Avventura) are added pleasures to this unexpected, if sometimes irritating, treat.

Greetings again from the darkness. A really good film from writer/director Luca Guadagnino and a terrific performance from Tilda Swinton. The film centers on power and family and trust and self-discovery ... and the complexities of each.

As a young, working class Russian, Emma (Tilda Swinton) is whisked away to marriage and life in the aristocracy of Milan. She dutifully raises her kids and organizes huge dinners and parties at their mansion as the Rechhi's entertain business clients and their own family. It is during these parties that we realize Emma is technically part of the family, but really is still an outsider. She escapes to her own space once the events are running smoothly.

Being an avid cook herself, she easily clicks with a brilliant young chef introduced to the family by her own son. Very little doubt where it's headed at this point as Emma unleashes the pent up energy she has been forced to hide. While we are very aware that the upper crust has learned to look the other way with infidelity, that's not the case with the Rechhi's and their Russian wife/mother.

The brilliance in the film is that it shows how the younger generation doesn't really fit any better than Emma. The difference is that they are part of the fabric and will be allowed more rope than an outsider. Still it is painful to watch Emma and her son, who can't quite adapt to the family business. Better yet, to watch her with her daughter, who confesses her preference for other women. Emma sees herself in these two, but doesn't have the same freedom. Her best ally is the caretaker who seems to understand the multiple levels on which this family functions.

Fascinating interactions and complex writing make this a film for film lovers. There is so little dialogue, but so much is said with a glance or head nod. Many U.S. writers could learn a thing or two. Must also mention the startling score by John Adams. It is quite operatic, which plays along with the themes of the film.

Attempting to revive the golden age of Italian cinema that featured such greats as Rossellini, Fellini, Visconti, Pasolini, and others, Luca Guadagnino has fashioned a sumptuous, elegant, and physically beautiful film called I Am Love or in its Italian title Lo Sono Amore. Unfortunately, while the film has moments of emotional power, it fails to coalesce into a satisfying whole and ends up feeling more pretentious than penetrating.

Written by Barbara Alberti, Ivan Cotroneo, Walter Fasano and Guadagnino and based on a story by the director, the film begins in snowy Milan in the winter. The very wealthy Recchi family, owners of a textile factory that it is hinted supported Musolini and the Fascists during the war, is having a dinner party in their aristocratic house catered by a host of servants wearing white gloves. The elderly grandfather and patriarch of the family Edoardo Sr. (Gabrielle Ferzetti) is about to retire, evoking the Visconti film, The Leopard. Shockwaves roll throughout the gathering, however, when he names both his son Tancredi (Pippo Delbono) and his handsome grandson Edo (Flavio Parenti) as joint controllers of the business. Befitting the family's pride, when Edo tells the group that he has come in second in a race, the elderly patriarch says "The Recchis never lose." The Russian born Emma (Tilda Swinton) is Tancredi's wife and mother of three grown children, sons Edo and Gianluca (Mattia Zacarro), and artist and photographer daughter Betta (Alba Rohrwacher). Though on the surface she is a loyal and supporting wife and mother and has made a complete adjustment to the Italian bourgeois way of life, underneath there is a growing boredom and discontent as sensed by her servant Ida (Maria Paiato). We get a hint of this stirring when daughter Betta reveals to her that she is a Lesbian and is in love with a fellow classmate in England. The longing for adventure crystallizes further when she meets Edo's friend Antonio (Edoardo Gabbriellini) who is a master chef who is planning to open a restaurant with Edo.

Joining her mother-in-law Allegra (Marisa Berenson) and Edo's girl friend Eva (Diane Fleri) for lunch, Emma's senses are fully awakened while eating prawns prepared by Antonio. Passing through San Remo on a trip to Nice to attend an exhibition to which she has been invited by daughter Betta, Emma unexpectedly bumps into Antonio who eagerly invites her to view the restaurant site. Despite the fact that Antonio is probably 10 to 15 years younger than her, this chance encounter leads to a bursting forth of Emma's tightly controlled sexual inhibitions and a swirl of passionate lovemaking in the rustic countryside, their engaged body parts mirrored by close-up shots of flowers and insects in a very poetic but overly aestheticized manner.

Reminiscent of Ibsen's 1879 play The Doll's House, the main thrust of the film is the repression of an upper class woman who suddenly discovers that there should be more zest to her life, presumably triggered by her daughter's openness in discussing her sexual preference. The love affair, however, triggers many changes in the Recchi family, both economically and psychologically. Tancredi is forced to sell their business to an Indian investor who explains that "capitalism is democracy". The scenes in London with the financiers are very strong but are treated as a minor sub-plot with the emphasis quickly given over to the family's psychological distress.

When Edo puts two and two together and realizes his mother's sexual adventures with his best friend, the result is tragedy for the entire family, a series of events handled by the director in an involving but melodramatic fashion. Though Emma has been praised by some for the courage she shows in breaking away from a static marriage, one wonders if a greater courage would perhaps have been shown if she had gotten in touch with the love she once had for her husband, fulfilled her solemn oath, "till death do us part", and resumed her responsibilities as a caring mother. While I was moved by much of the visual beauty of the film and the idea of breaking with tradition and listening to the voices within, I was infrequently emotionally involved with the characters and I Am Love felt distant and often contrived.

The poster for Luca Guadagnino's film shows a regal Tilda Swinton in an eye-catching red dress surrounded by her sober-looking family. In another version, the frock has undergone a cheeky digital makeover to a shocking pink that matches the movie's bold, declaratory title. The symbolism might seem a little obvious, but this is a story in which one woman's passion comes bursting to the surface – with tragic consequences.

"Something part palace, part prison, part museum" is how star and producer Swinton envisaged the house at the centre of this contemporary drama about the Recchis, a wealthy Milanese family. Opening with a series of almost monochrome shots of a snowbound Milan, Guadagnino closes in on the elegant but forbidding 1930s mansion, where Russian-born Emma (Swinton) and her husband Tancredi (Pippo Delbono) are preparing to host a dinner party.

On the surface, Emma is an attractive middle-aged woman, perfectly at ease with her three grown-up children and comfortable within the sumptuous trappings of Italian society. Guadagnino and cinematographer Yorick Le Saux linger over the chandeliers, wall hangings and gleaming napery that indicate decades of affluent living. But as the white-gloved lackeys hover over the birthday celebrations of ageing patriarch Edoardo, we sense that something – or someone – is about to shatter the family's much-prized unity.

Soon there is an announcement about the future of the family textile business, but it isn't the defining event of this opening set piece. Guadagnino's interest lies not in soap opera-style financial wrangling, but in how two of Emma's children unwittingly lead her towards a personal epiphany. First her daughter Betta (Alba Rohrwacher), a talented artist, causes a minor ripple by declaring that she's now more interested in pursuing photography. Emma's subsequent discovery of a heartfelt note inside a CD box reveals that Betta has fallen deeply in love – with a girl.

During the meal, a young man turns up looking for Emma's son Edo (Flavio Parenti). He awkwardly refuses to join the party, but it's clear that Antonio (Edoardo Gabbriellini) a handsome and supremely talented chef, has struck a chord with the lady of the house. So, as Edo eagerly makes plans to open a restaurant with his friend, Emma is drawn into a high-risk affair.

The power of Swinton's performance lies not in her mastery of Italian dialogue but in her gradual, unspoken surrender to passion, over the dictates of convention. This is a film in which speeches are, for the most part, far less important than the sense of underlying tension generated by John Adams's operatic score and Le Saux's restless camera work. Late in the film there's a sinuous tracking shot that follows Emma's impulsive descent to the basement kitchen for a stolen moment with her lover.

Guadagnino's willingness to take risks in the pursuit of what Swinton has called "pure cinema" is what distinguishes this film from other stories of forbidden love involving ladies who are old enough to know better. Epicureans will experience as frisson as Emma is seduced by Antonio's lovingly prepared prawn dish. The lingering shots of those seductive crustaceans could have been ridiculous, but they're another small and believable step in Emma's awakening to the possibility of a new love. When the action moves to the glorious countryside around San Remo, Emma allows Antonio to cut her hair, in an apparent nod to her daughter's recent change of style. Her rebellion reaches a crescendo in the extraordinary al fresco sex scene, shot in huge close ups to the accompaniment of teeming insect life that threatens to drown out everything else.

Guadagnino and Swinton first worked together on The Protagonists (1999) and this latest collaboration evolved over a period of nearly 11 years. It's too early to say whether they can be measured against some of their inspirations –Tolstoy, Flaubert , Hitchcock and Visconti – but there is much to admire in this stylish and well-acted drama.

There are faults: some of the camera placements are too artily self-conscious and Emma's interactions with her husband and children often feel rather perfunctory. Unlike Visconti's The Leopard, this isn't an in-depth exploration of family dynamics buckling under the forces of history. But neither the director nor the star can be accused of timidity in the way they embrace the protagonist's headlong rush towards her destiny. And even the Master of Suspense would have applauded the shocking climax of a confrontation in the garden, which made me jump out of my seat.

During the past decade, Tilda Swinton has proved herself to be a very adept actress. I've never heard of Luca Guadagnino, but their collaboration "Io sono l'amore" ("I Am Love" in English) presents an interesting and slightly chilling look at a wealthy Italian family.

The focus is the fictional Recchi clan in Milan, and Emma (Swinton) is a Russian woman who married into the family and pretty much turned her back on her Slavic identity. Her husband Tancredi (Pippo Delbono) is the son of industrialist Edoardo (Gabrielle Ferzetti), for whom a party is thrown where he announces that he is handing the business to his son.

By this point, it starts to become apparent that Emma's life feels incomplete. Maybe it's the weirdness of a life where one is always surrounded by extended family and getting waited on hand and foot - and how the extended family seems determined to organize all relationships - or maybe it's the surprise at learning of her daughter Elisabetta's (Alba Rohrwacher) lesbianism. But when Emma's son Edoardo Jr. (Flavio Parenti) introduces her to chef Antonio (Edoardo Gabriellini), who prepared the cake, this begins a new chapter in Emma's life.

Throughout the movie, it seemed that the food acted as a metaphor: Emma was starting to taste a whole side of her existence about which she'd never known. Maybe the food and other visuals were a little overstated throughout the movie, but I think that the end result was a good one. To be certain, there was a scene in the movie that made me feel as though I'd just stopped breathing - you'll know it when you see it - and I think that what Emma does at the end is the only thing that she could have done. I recommend the movie.

PS: Marisa Berenson, who plays Allegra, previously starred in "Death in Venice" and "Cabaret". She is the sister of actress Berry Berenson, who married "Psycho" star Anthony Perkins and was in one of the planes that crashed into the World Trade Center on September 11, 2001.

I can't describe the power of this film, and I can't stop thinking about it either. There's a negative review on here that says to go see MICHAEL CLAYTON instead and not to waste your time. Well, if a movie about plot, overly drawn characters and artifice, all shot by the book, is what you're looking for, then yes... this probably isn't the movie for you.

But if you like people more than stories. If you want to see film-making at its most graceful and organic and inventive, if you want a musical score that will turn a sidelong glance into an operatic overture, then this IS the movie for you. It is a baroque masterwork. A cathedral of a film. Cold as stone but inspiring the soul.

Tilda Swinton is a goddess. She says so little, but communicates so much. There's an entire ocean of emotion inside or her, spilling out of her eyes. I cried twice at this film. Once because of the subject matter and then again at the delicacy of the film-making. Don't let people with conservative tastes and conventional ideas of film and story tell you not to go see this movie. They are robbing you of experiencing pure emotive cinema.

I am not a fan of deer in the headlights style acting and Tilda Swinton gives up a great deal of it in this movie. Look at me as I stare blank faced and wide eyed as things, life things are happening around me. If anything redeems this movie somewhat, it's the splendid locations; the gorgeous mansion, the city, etc. The story fails because it does not give us anything to strive for or push against except the malaise, boredom and passivity of the main character who is not very sympathetic. It is hard to root for her, in fact you kind of hope she absentmindedly walks into a door at some point, or miscalculates and shoves an olive up her nose instead of her mouth in the repeated fork journey from plate to face.

When have you felt most alone?

Milan. Winter. Upper-middle classes,Northern Italy. A dizzying array of people who all know each other and we don't.

Speaking about I Am Love, Tilda Swinton remarks, "Overcoming the idea of oneself, as created by society, has been one of my main interests since Orlando." In that earlier film, which was based on a novel by Virginia Woolf, Swinton's character self-reflected by seeing how society views her through different time periods and even a gender change. In I Am Love, Emma (Swinton) connects with love as a revolutionary force and throws off the shackles of a persona forced on her by circumstance.

I Am Love is unusual as an art film in that it is set in a world of exquisite luxury and good taste. It is not the simplistic attack on bourgeoisie we might at first expect. Working out the underlying moral fabric requires effort (but is richly rewarded). Love, or Emma, is no martyr to idealism. Revolution (of the social order) – or love – can only be justified by its success. Even the cinematic temptation to tragedy will extolled and then dashed through with a sword.

Russian-born Emma is Tancredi's wife. Tancredi co-inherits the family textile fortunes with his son Edo. Emma, although head of the household, is something of a show wife. With style and authority, but no clearly defined role in terms of business or of culture. The traditions and values of Tancredi's father for the former have maybe skipped a generation to the untried Edo. For the latter, to his sister and artist-photographer, Betta.

Secondary characters quickly provide clues to the theme. Edo's friend Antonio is an innovative, high class chef. Cuisine elicits a life-fulfilling passion in him for perfection and meaning. And Betta has a life of her own of which the parents suspect little. "Only you love me for who I really am," she tells Emma.

A superficial reading of I Am Love could leave the viewer with the impression of tragedy in which love has terrible consequences. It is essential to analyse what one actually sees (rather than a Hollywood ending that would have emphasised different points entirely). One can then imagine conversations over glasses of chablis, berating the section where the film goes 'oh so Lady Chatterley,' oblivious to how the film attacks that very same self-satisfied air of culture without visceral involvement. Even an interest in Swinton's breasts disguised by trappings of intellectual analysis. More lowbrow cinema-goers could feel even more frustrated at the 'missed opportunities' for histrionics, the emotional 'involvement' that comes from more manipulative screen writing.

I Am Love is social melodrama in the best traditions of Italian cinema. It lines up, surprisingly, more with works like L'avventura and that film's quest for self, than the compassionate criticism of an elite class in Il Gattopardo (The Leopard). In I Am Love, good taste and refinement is simply the medium for those with an ability and wherewithal to appreciate it – epitomised by Tancredi's father, his son, but perhaps not Tancredi himself. It carries no moral connotation. Empty shells on the other hand, form without substance, ultimately and unknowingly seeks its own destruction.

Tilda Swinton's career has forged a extraordinary path. In mainstream cinema, she has been hailed for work like Michael Clayton which, while impressive, hardly shows her skill in portraying worthwhile values (compared, say, to her portrait in Stephanie Daley). Or her powerhouse as an actress, in challenging cinephile gems such as The Man From London. I Am Love has potential to reach a wider, discerning audience, than her Bela Tarr movie, being shown not only in art house but as least one multiplex chain. It has an arresting, and rather beautiful romance at its heart, and one that becomes a striking metaphor for finding one's true course in life. It is ascetically 'thinking person's cinema' yet lovers of fine things can luxuriate in the sumptuous sets and costumes that inhabit art history and couture (Silvia Fendi, third generation of the famous luxury brand, was also an associate producer on the movie). Music is by Pulitzer Prize winning composer John Adams, and the perfectly choreographed closing scenes have almost operatic intensity.

One of the pleasures of writing a review is the opportunity to think a more deeply about the film - when one has to put words to paper. Only when forced to analyse the story, to separate the expected from what really happened, did I truly appreciate it. Swinton's Emma is no modern-day Madame Bovary. Style, plot and execution is far less predictable than it seems. Clichés of rich-poor, virgin-whore, as well as cinematic tropes that have become stale are effortlessly avoided. Confusing feelings are not indicated by fast cuts, but by unrelentingly staring at the character struggle in a long take.

I particularly like Swinton's power for creating interiorisation. This is visual acting at its best, showing what is going on in her head without having it spelt out. There are moments of exultation when she can barely contain herself. And moments when she struggles to stay on course – as we should, if we want to keep up. We find ourselves transfixed by her face in the bathroom. A place of privacy, where she can almost admit to herself the jubilation at a stolen kiss. And, like the art book she forgets to pay for, full of future portent. Or the moments when she is torn, at the climax of the film. The difficult self-examination in the midst of events. When Tancredi summons damnation in the words, "You don't exist," she has passed the point where she might cling to merely existing. Freedom is the power to 'go,' and to 'do.' Any avowedly lightweight cinemagoer might complain that the deaths are not dramatic enough. The cinematography not stark enough (to make us gasp in awe every few seconds at the beautiful surroundings) or the dialogue not self-explanatory enough.

The ever-versatile Tilda Swinton stars as a Russian-born Italian in Luca Guadagnino's film 'I am Love', which is beautifully filmed, well-observed and acted with a nice sense of understatement. Yet this tale of a wealthy family suffers somewhat from the basic irrelevance of its drama. Being happy is a challenge for everyone, even for the rich, but a story where the characters are essentially free to choose their own lives can feel slight, and although part of the point here is that the individuals concerned are prisoners of their own privilege, the point is made without any satirical venom - the tears of the servant, crying over the departure of her mistress at the end of the film, are shown without irony. Although there are details to enjoy here, I found it hard to sympathise with any of the characters over any of the others. It's not a bad film, but a social dimension to match its emotional one might have added to its impact.

Let's start with what's good: beautiful outdoor shots, a beautiful mansion in/near Milan, wonderful stuff about the servants and the parties of the very rich.

That's all, folks...

Every character is cardboard; there's no depth, or at least (in the Emma -Tilda Swinton character) no believable depth. The plot has no surprises, except for one complete deus ex machina that's used to wrap it up -- with an ending that I at least found, consistently with the rest of this turkey, to be wildly unlikely and hence incredible. Ooooh the languor of the formal-dinner-partying rich, back in the days when one had a dozen servants to execute it. Ooooh the loving devotion of the chief housekeeper, mother to all three generations of "her" family. Oooooh the lovely, hairy body of the unsurprising love interest. And so on, and so on. The unfeeling, greedy industrialists? Wow, that's shocking. The sensitive son, who has no problem with his gay sibling but butts heads with his greedy cold dad? Who would have thought it? There is no interesting idea anywhere in this movie.

I'm truly baffled. Not so much by the movie itself – the plot ambles along with excruciating predictability. No, what mystifies me is my friend's and reviewer's fervent reaction to "I Am Love". I just don't get it. Apart from some beautiful photography, and perfectly adequate performances, what exactly does this film offer? The characters are cold and unengaging; their motivation obscure. The "erotic" moments are so clichéd they look like parodies. The heart and soul of the film seem to be completely missing.

Really. I was amazed. You see, I'm such a sucker for emotional engagement with characters – I'll laugh, cry, hate, fear, cheer and philosophise along with pretty much any film I watch. I'm a producers dream.

But this? It washes over you and you sit (admiring the view) in the hope and expectation that something is going to happen soon. Something will surprise you. A character will suddenly come to life – reach out and draw you in. That you'll get a golden moment, or even a whiff of cinematic soul. But no. Nothing.

So – there it is. There's either something vital that I'm missing here or this emperor is indeed stark naked? I Am Disappointed.

I love this film! Modern, unique and very classical at the same time, it is truly pure cinema. Tilda Swinton is awesome and gorgeous and pops out of a completely new box, speaking fluent Italian and Russian.

On top of the complex and unusual story- tough and very emotional at the same time- it is a sensual feast: One just longs to keep drifting through the corridors of the family house full of servants, sun and stagnant secrets... Or to frolic in the eden-like glade with the naked lovers, watch the young chef create his amazing dishes, observe the ritual and drama of the traditional bourgeoisie being dismantled by globalization and finally be swept up in the climax which is so emotionally intense that it is almost lacerating ... carried along by the amazing score by John Adams and the distinct and inventive direction by Luca Guadagnino. Wow. See it. Twice.

Checked this out on the merit of Luca Guadagnino's breakthrough film, Call Me By Your Name, in the interest of exploring some his past work. In some ways, I Am Love feels like a dry run for the former, particularly in its second act which is by far its strongest. It captures that same windswept, naturalistic intimacy shared between two characters who are hopelessly drawn to one another despite the social pressures that would pull them apart. Guadagnino displays the same eye for the beauty of the Italian countryside which again acts as a backdrop, and he too adorns the romance with plentiful images of the natural world.

But these similarities to Call Me By Your Name are also somewhat detrimental to the film as they draw just as much attention to the ways in which it doesn't quite reach those same heights. The characters here don't feel as rounded and full-bodied which distanced me a bit from the proceedings. There are also many more plot elements revolving around the more numerous supporting characters that fail to be as compelling as the central romance. Additionally, I took some issue with the third act of the film which veers into melodrama and results in a finale that feels forced compared to the breezy, airy quality of its earlier sections. Still, there's plenty of beauty to behold here and it's worth seeing as a formative work in Guadagnino's career, as well as on the strength of its best moments.

3.5/5

I was lucky enough to catch a preview of this movie last night in London. I could say great deal about the film, but i won't, all i'd like to say is that i thought it was fantastic. The film was extremely captivating and very thought provoking. it is not often that love, passion, desire and the hope for understanding is captured so well on screen. it is a film that you will no doubt find yourself taking the role of one or more of the characters, a reminder of humanity, and the great power of love and one's need to listen to your heart, to take measures. looks good, sounds great and a beautiful punch in all manners.

8/10

This is an impeccably designed melodrama in the classic Italian and Hollywood sense. It pays homage to Visconti, Sirk etc. in the same (but different) way that Almodovar pays homage to them (over and over again). But for a film that takes itself utterly seriously, it really has absolutely nothing to say. It glides through its themes and events without the least interest in developing any of them, all the director is interested in is the aesthetic and dramatic effect that they might offer. In fact, it is all effect. The dialogue is quite often stilted, perhaps in the manner that the dialogue can often see stilted in the classic films that he is trying to emulate, but when they're in London (for a meeting in the city...cue the Gherkin...)...the dialogue isn't stilted, it's incomprehensible...

What he lacks in substance, he makes up for in style, the World of Interiors set design is impeccable, and indeed is the star of the film, as is the wardrobe, all that's missing is the catwalk. But the camera work and editing is incoherent and gratuitous and works against the film at all times. He is using the visual language of an artist video piece to tell the story of lush soap opera...Guadagnino really throws everything he can at the spectator in order to reinvent the genre, but the result is clumsy and often annoying.

That said, this is at least a brave albeit flawed attempt at film-making, the actors look the part, which is all they're expected to do, and mostly pull off the clumsy dialogue, and there are some genuinely moving moments, if only visually. The music heightens the drama to such a pitch that sometimes you're not sure whether to laugh or explode. What could have been a great film was in the end, an often frustrating but nevertheless intense cinematic experience.