"Baaria" has a large investment of up to 25 million euros. It is considered a top production in the Italian film industry. The soundtrack is written by Morricone. Both himself and the outside world have high hopes for the film. The film was the opening film of the 2009 Venice Film Festival. At the end of the year, he represented Italy in the Oscar competition for the best foreign language film. We are all aware of the subsequent results, and we have come back unfailingly.
The film tells the history of a family for decades, covering various political changes from the fascist era to the dazzling later. In the narration of this kind of historical event that has participated too much, I waited for outsiders to stray into the Grand View Garden like people who do not know the truth. Although the film basically follows a linear narrative in time, it looks like fragments that are difficult to connect, and the rhythm is too fast or even a little chaotic. Under the interference of such a situation, it is difficult to appreciate the feelings in the film. Torch said that this work has a strong autobiographical nature: "Half of it is true, usually imagination, but fiction and reality are cleverly combined in order to use falsehoods to confound the true."
In my opinion, it is precisely this autobiographical nature that fettered Torch's hands and feet. It is easy for a person to lose control when dealing with subjects that involve oneself, and if one does not make the right choice, it will make the work taste bad. In "Baaria", the emotions of the family characters seem to be decoupled from political events, and they go their own way. The effect of historical events seems to only change the fate of the characters in the film. The time span is too long and the time period intercepted is too much. The container of the film cannot contain history and emotion at the same time. Under normal circumstances, works with a strong autobiographical nature have strong emotions and are easier to move people. Toshield’s new work is obviously out of shape and less moving than any of his previous works.
The dashing child, the camera recedes, showing a picture of Baaria's life. Unexpectedly, after this beautiful opening, it is difficult to enter the Sicilian image created by Tocht for three years. What about Morricone’s soundtrack? It seems a bit noisy in the film and Italian voices. Monica Bellucci's short appearance did not recall the moving memories of previous years. The heroine in the film still has an exquisite appearance (such as "Paradise Cinema", "The Beautiful Legend of Sicily", and "The Pianist on the Sea"), but it does not once again exude the feminine charm of the previous Toshi films. After Toshi's traditional methods failed, there was no longer the tension of classical drama, only some clichés remained.
Except for the length of the film: two and a half hours, no other place has the characteristics of a family epic, there is an epic without a poem. Toshi’s expression of homesickness has not become a moving poem, neither has a lyrical effect nor a complete epic pattern. The best hope is that Italians who are familiar with local history can applaud Toshi, but the embarrassment at the opening of the Venice Film Show shows that this does not seem to take effect. Last year, there was a Hollywood movie "Journey to Family" starring Robert De Niro. It was of good quality. The remake was Tocht's 1990 movie of the same name. For Tobs, should it be comforted, or ironic? When the legend of Sicily is no longer moving and no longer beautiful, there is one more difference between him and his predecessor Leonne: Leonne's works have never missed. According to Tortowski's creative speed, he returned to the top, and he was a young man.
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