Rich people sure do love their fine cuisines.
After a tight-knit, upper-class family all get together for a reunion of sorts, Emma Recchi (Tilda Swinton), the wife of a very wealthy businessman, finds herself in a bit of a rut. She’s confused about where she wants to go with her life, what does she want with it, and most of all, who does she love and who loves her in return? She juggles these questions around all of the time in her head, you can just tell, and they all get more complicated when her son’s associate (Edoardo Gabbriellini) catches her lustful eye. Now Emma has to take two things into consideration: Either stay with her husband and keep with the lavish life-style that she obviously enjoys being surrounded by, or go off, bang this young dude, stay with him, and risk losing it all. What’s a lady to do when she’s got young man-meat around her, huh?
It’s a pretty simple premise for a not-so simple movie, but that’s the joy of watching movies that are hard to read like this. Not only do they challenge you to understand what’s going on, but it doesn’t hold your hand or smash you over the head with what it thinks you should know about its story. You just sort of have to put the pieces of the puzzle together, look closer, and realize that there’s more brewing beneath the surface here, and that’s exactly what I felt watching this flick for a good hour. Everything just seemed to be working well, and I think that’s mainly a credited to writer/director Luca Guadagnino, who really has me interested with what he’s got coming out on his next.
Main reason being, is that this dude knows how to make any image, whether it be plates of liquid-soup, the Tuscan Sun, or the narrow streets of Italy, just simply and utterly beautiful. The camera-work is astonishing with how he just follows the action and keeps up with it, but also keep’s an arms-length with it as well to where we aren’t up in everybody’s grill, nor do we lose track of the beauty in the visuals here. It’s all so pretty and it’s all so gorgeous to just stare and gaze at, and gets even better when you throw in the orchestra score as well. Even though it does seem to get bloated by the end, the score still keeps things very interesting and may even have your heart racing out of nowhere. It did it to me, and it totally surprised the hell out of me.
So basically, when it comes to the look, the sound, and the feel of this material Guadagnino’s using, the man’s got it all down to a T. It’s definitely slow and it obviously wants you to settle in and be ready for something crazy to happen in the last Act, but it works because of his fine eyes and ears for beauty and detail. However, the problem the dude runs into is that he can’t quite keep a full head of steam going once that last Act hits, where everything begins to get somewhat “loco”.
The script by Guadagnino obviously works and doesn’t bring us in too much to where we feel like we know where it’s going, how it’s going to end, and what’s going to happen to who, and so on and so forth, but it also doesn’t feel like it’s working up too much either. All of these family members have something going on in their lives that’s definitely shown and made a great deal of, but never to the full extent where we continue to get more and more development about it. The only development for these sub-plots that we get is the one with Emma, which seems pretty obvious why hers is because its Tilda Swinton, and the chick is obviously the lead character out of the rest of these material family-members. That’s why when the end does come around, most of you will be left scratching your head what the point behind all of this was, and mainly, why the hell did it have to end this way, among many other, countless ways?
I’m not going to give too much away and spoil the “fun” for the rest of you out there, gang, but I will caution you that the last 20 minutes are some pretty funny stuff, and they don’t mean to be. Hell, what happens at the end of the movie, I wouldn’t even call a “twist” per se, I’d more or less say it’s just a random occurrence that happens to a character, that’s relatively tragic, and puts everybody else in the flick in a bit of a rut, which bothered me because it seemed totally unnecessary and almost like it was slapping the rest of the flick that came before it in the face. Very melodramatic, very random, and very over-the-top in the type of way that you’d expect to see from an episode of All My Children; not a movie about a mother falling for her son’s much-younger friend.
Speaking of the said mother who fails for her son’s much-younger friend, Tilda Swinton is pretty damn great as Emma, despite not being a native of Milan and still being able to sound fluent in Italian. Swinton has always been a knock-out, drag-out actress who’s always scared me with the way she looks, but all of that crap aside, she’s pretty damn good here because she’s able to give Emma a bit of a breathing-compass that’s easy to feel something for, especially when she starts getting all hot and heavy with her little boy-toy. The basic problem is that even though she’s very good showing emotions within this character, we never really do get a full understanding of why it is that she feels so tempted by the act of infidelity, and why it has to be this dude? Granted, he’s young, Italian, a chef, and wears an apron many times they stumble upon one another, but what makes him so freakin’ awesome that she has to totally throw away all of her years of marriage? Nothing really, but the movie never touches on that aspect of his and her character, so therefore, were just left to make up our own minds and wonder what’s up with this older-gal.
Consensus: For a good hour or so, I Am Love is very compelling, but moreso in a way that’s about its visuals, way of story-telling, and overall mood, but then dives right into the category of melodrama, and gets very laughable, very quick.
6.5 / 10 = Rental!!