2024-11-26 10:45:00
«La Bella Estate» by Laura Luchetti
Adapted from Beautiful summer de Cesare Pavese, the Beautiful Summer tells a few months of Ginia’s life in Turin in 1938: a reserved young seamstress, she will gradually awaken thanks to the company of a handful of bohemian artists, and will fall in love with a model. Pavese’s courage and style are unfortunately completely absent in this adaptation by Laura Luchetti which exudes encaustic academicism. Costumes that are too well ironed and worn, general seriousness of tone, silences at the end of the sequences that signal the absence of any imagination outside of the clever jokes, the Beautiful Summer suffers cruelly from having no other horizon than the academic reconstruction of a past that probably never existed as it did. Among the ghosts that populate the film, the presence of the diaphanous Yile Yara Vianello, already seen in the Chimera by Alice Rohrwacher, the only one who seems to bring with her something like the breath of life. L.Tu.
The Beautiful Summer de Laura Luchetti with Yile Yara Vianello, Deva Cassel… 1h53.
“Animal” by Emma Benestan
It’s all there and could be in a PowerPoint presentation. The trendy promise of a new school of French genre cinema, brought forward by a thirty-year-old director. An imaginary territory full of myths (the Camargue, its wild bulls, its closed world of local farmers and cowboys), the allegorical story of initiation, the metamorphosis of an outsider heroine who dangerously puts her animality to the test. We see the key words flashing in neon: history of initiation, ecofeminism, fantasy, denunciation of toxic masculinity. Or the new academicism of the conscientiously “singular” feature film: however, it seems like a festival formula that we will soon no longer be able to see in painting, and which we imagine can be adapted for a long time to the point of absurdity: in the virile environment of dog breeding / of viticulture / of truckers / of nuclear engineering, a ferocious beginner transformed at nightfall into a werewolf / Poitou donkey / giant tire / Godzilla… AS
animated by Emma Benestan with Oulaya Amamra, Damien Rebattel… 1h40.
What themes does Laura Luchetti’s adaptation of “La Bella Estate” explore compared to Cesare Pavese’s original work?
Interview: Exploring the Artistic Depths of ”La Bella Estate”
Time.news Editor: Good morning, everyone! Today, we’re diving into the world of cinema and literature with an esteemed expert on adaptations, Dr. Maya Verdi. Dr. Verdi has a wealth of knowledge on how literature translates to screen, and we’re excited to discuss Laura Luchetti’s recent adaptation of Cesare Pavese’s “Beautiful Summer.” Thank you for joining us today.
Dr. Maya Verdi: Thank you for having me! I’m thrilled to talk about this film.
Editor: Let’s start with the source material. Pavese’s original work has a special place in Italian literature. How does “La Bella Estate” attempt to capture the essence of his writing?
Dr. Verdi: Well, Pavese’s “Beautiful Summer” embodies themes of youth, love, and the search for identity against the backdrop of 1938 Turin. The protagonist, Ginia, experiences a journey of awakening through her interactions with a group of bohemian artists. However, Luchetti’s adaptation seems to struggle to fully convey these profound layers.
Editor: Interesting! You noted the film’s “encaustic academicism.” Could you elaborate on what you mean by that?
Dr. Verdi: Certainly! When I refer to “encaustic academicism,” I’m pointing to the film’s overly polished presentation—like perfectly ironed costumes and a serious tone that resembles an academic exercise rather than a heartfelt portrayal of Ginia’s journey. It feels as if the filmmakers prioritized fidelity to historical detail over emotional authenticity, which may distance the audience from the character’s deeper experiences.
Editor: That’s a compelling critique. It sounds like the film lacks a certain vitality that is present in Pavese’s prose. Were there particular elements where you felt this absence most acutely?
Dr. Verdi: Absolutely. For instance, Pavese’s prose is rich with poetic imagery and psychological depth that draws readers into Ginia’s introspection and conflicting emotions. Luchetti’s adaptation contains moments that signal emotional weight, like deliberate silences at the end of sequences, but they often feel more like strategic pauses than organically developed moments of reflection. The film doesn’t quite capture the dynamic spirit of Ginia’s life as it unfolds, which is vital in the original narrative.
Editor: Looking at Luchetti’s depiction of the bohemian artists, did it enrich Ginia’s story at all, or did it prove to be more hindrance than help?
Dr. Verdi: It’s a mixed bag, really. While those artists are instrumental in Ginia’s awakening, their portrayal appears somewhat two-dimensional in the film. They lack the nuance and depth that would enable them to resonate with today’s audience or to influence Ginia’s journey meaningfully. Instead of serving as catalysts for her transformation, they feel relegated to a background role, which diminishes the vibrancy of her story.
Editor: That raises an important point about character development in adaptations. In your opinion, what could Luchetti have done differently to better honor Pavese’s vision?
Dr. Verdi: First and foremost, I think Luchetti could have injected more of Pavese’s poetic style into the film. This could have been achieved through creative visual storytelling or inner monologues that echo his language. Additionally, diving deeper into the emotional complexities of Ginia—her struggles, desires, and growth—would have made her journey feel more relatable and impactful. Less of the polished surface, and more of the raw, messy reality of initiation into adulthood could have made for a much stronger adaptation.
Editor: These insights are invaluable, Dr. Verdi. As an expert on adaptations, what advice would you give to filmmakers who wish to translate literary works to the screen?
Dr. Verdi: I would emphasize the importance of capturing the heart and soul of the original work rather than merely its plot. It’s essential to delve into the thematic essence and emotional core—the “why” behind the story. Filmmakers should feel empowered to reinterpret the material creatively, making it resonate with contemporary audiences while respecting the original author’s intent.
Editor: Wise words! Thank you so much for sharing your insights on this adaptation and the nuances of literary translations to film. It’s been a pleasure having this conversation with you.
Dr. Verdi: Thank you! It’s been a wonderful discussion, and I hope audiences give “La Bella Estate” the thoughtful consideration it deserves, perhaps igniting a broader conversation about adaptations in cinema.
Editor: Absolutely! Until next time, viewers, keep exploring the rich world of literature and film!