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The Truce
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It
is always sad when once great filmmakers slowly, over the years, lose their
special touch. Their work may still be grave, grand and dramatically solid, but
one misses the sensual immediacy, the closeness to detail, that previously
brought their films alive. Worst of all, their movies become the official art
of their home countries: duly honoured, respected and exported, but rarely
loved.
Like
Andrzej Wajda, Volker Schlöndorff and Jiri Menzel, Francesco Rosi (Hands Over the City, 1963, Carmen, 1984) has, over the past decade,
entered this sad state of decline. The
Truce, adapted from Primo Levi's novel, is a project obviously close to
Rosi's heart. This story of
The
landscape of a new, post-war
As
Primo, Jon Turturro gives the finest performance of his career to date. His
words and gestures are controlled and terse, hinting at fires of emotion
within. In part, this is a tale of the return to life by Primo and his
comrades: a rediscovery of the human body, sexual intimacy and the splendour of
nature. Turturro conveys, in a quietly majestic fashion, the pain and pleasure
of such a rediscovery.
In The Truce, the drama of survival –
physical and psychological – is largely a male drama. Women figure fleetingly
in the story as idealised projections of beauty or decadence that the men must
either embrace or reject in order to re-win their dignity. This bias may be
faithful to the film's source material, but it still irksome.
The
greater problem with Rosi's movie is its cerebral, almost academic rendering of
such a passionate episode in personal and political history. It can strike us
as worthy, important, even stirring in a lofty way; but Rosi seems very far
from the small, vital sensations which form its true core. His gaze is too
distant, too severe, too scholarly – and that lessens
what could have been one of the great reflections in cinema on the legacy of
the Holocaust.
MORE Holocaust fiction: Life is Beautiful, Schindler's List, Train of Life © Adrian Martin October 1997 |