Thursday,
January 18, 2007
"The Italian" Movie - Italian
Couple Adopt Russian Boy Who Yearns for Birth Mother
The
ANNOTICO Report
Either
the Reviewer or the Movie, inexplicably makes an
Italian Couple whose only fault is to want to provide an abandoned/orphaned
Russian boy with a supportive loving home, as evil.
At
the same time it makes the boy's rather absurd yearning to find his birth
mother, who already has abandoned him,
as a courageous crusade to break away from a
"needy" couple, who tore him from the bosom of a warm orphanage.
What
a crock!!!!!
By
Carina Chocano
Times Staff Writer
January 19, 2007
An SUV carrying an Italian couple, an adoption broker and her
driver/muscle/lover runs out of gas somewhere in the frozen countryside of
northern
"This is the real
There's a universe of information contained in this scene the idea of Russia as a country full of
"spare" children, of Italy (with its record-low birth rate) as a
country with not enough of them, of Russia's poverty relative to We s! tern
Europe, where a mechanic is wealthy by local standards, of the wounding (but
not entirely incorrect) assumptions made by foreigners about the best option
for abandoned Russian children being a ticket out of the country and a new
identity as a foreign child, of the complicated moral justifications of illegal
adoptions made by brokers and corrupt, if well-intentioned, orphanage directors.
The first feature film by documentary maker Andrei Kravchuk,
"The Italian" was inspired by a newspaper story about a boy who ran
away from an orphanage and tracked down his mother, but it can trace its
antecedents to neo-realist and Soviet film traditions, in which the
hardscrabble lives of poor, unloved children are offered as social critique.
The
world Kravchuk creates has its edges softened by the
camaraderie at the orphanage and by the patronage of the older children, who
organize into Artful Dodgers, like a (or, if you prefer, Soviet) collective,
and that makes sure whatever meager wealth enters the institution is
distributed evenly.
Kravchuk's view is considerably less hardened than,
for instance, Lukas Moodysson's unrelentingly grim
portrait of abandoned Russian children in his film "Lilja
4-Ever." Kolya Spiridonov,
who plays the movie's tiny hero, Vanya Solntsev, a soulful 6-year-old with the gravelly voiced
gruffness of an anime character, physically resembles the actor who played Lilja's friend Volodya in Moodysson's film, but unlike that character he perseveres
through his David Copperfield circumstances with superhuman resilience and
fairy-tale luck, despite serious setbacks.
At the orphanage where the Italians eventually arrive, the adoption broker
(Maria Kuznetsova) is known as Madam
,! and she is universally regarded as the only
ticket out of poverty by the older kids (aged out of the adoption pool) and the
younger kids, who clamor around her like pet-store puppies. The only holdout is
Vanya, whom the Italians have selected as their
future son.
In the office of the crumbling orphanage director (Yuri Itskov),
the Italians hug Vanya, trying him on like a new
coat, and agree to come back for him in a couple of months. Vanya
is understandably reticent, and his reluctance turns to anxiety after the
mother of a recently adopted friend shows up looking for her son. The thought
of his birth mother trying to find him after he's been sent to live abroad
keeps him up at night, and soon Vanya determines to
run away and find her.
For all its sly appraisals, grouty surfaces and
hard-luck situations, "The Italian" is underneath it all a
fairy-tale, though the thought doesn't crystallize until later. A remarkably
compelling presence, Spiridonov commands atte n! tion
without pandering or appealing to pity. In fact, for a 6-year-old, he is
possessed of an uncanny poise, so that it comes as no surprise that he chooses
his own path against the perfectly reasonable advice of others.
If that's not a
carina.chocano@latimes.com
"The Italian." MPAA rating: PG-13. Running time: 1
hour, 39 minutes. In Russian with English subtitles.
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