A film review by James Berardinelli for ReelViews.net
It's vaguely disconcerting to admit that, less than 24 hours after seeing Under the Tuscan Sun, the thing I remember most clearly about it is neither the characters nor the situations, but the photography. This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors. The real star of Under the Tuscan Sun isn't Diane Lane, but the Italian countryside, with its rich, varied hues, as filtered through the lenses of cinematographer Geoffrey Simpson. So, if you're looking for pretty, postcard-like settings, this movie offers plenty of them. If the narrative is more of a concern, you may find this film lacking.
The movie is freely adapted by director/screenwriter Audrey Wells from Frances Mayes' book of the same name. However, because the source material is essentially a travelogue, Wells reworked the material to provide a structured narrative. The main thread of the story, while not original, is interesting enough. Unfortunately, Wells didn't think this was sufficient, so she added a number of cliched, poorly developed, uninteresting subplots to highlight various quirky secondary characters. And, of course, there's the obligatory rushed, optimistic ending which is as false as an old man's dentures.
Diane Lane, elevated to the level of movie star as a result of her Oscar nomination for Unfaithful, headlines the film as Frances Mayes, a newly divorced writer/book critic who is having a hard time dealing with the breakup of her marriage. Her concerned best friend, Patti (Sandra Oh), suggests that she spend some time out of the country, and buys for her a plane ticket to Italy. Once there, Frances decides she doesn't want to return to the United States, and plunges all of her available capital into a crumbling Tuscan villa. As she's fixing it up with the help of some immigrant Polish workers, she meets her neighbors and begins her search for a new romance.
The part of the movie that centers on Frances' rebirth in Italy (a process that parallels the revitalization of her 300-year old home) is Under the Tuscan Sun's most compelling aspect. As I said, it's not terribly original, but it is well-done. Frances' obligatory romance with Marcello (Raoul Bova) seems to have been included primarily to satisfy those who are looking for something more than a woman trying to figure out how to get her plumbing to work. The subplots vary from unnecessary to annoying. Instead of enhancing the film by adding color and depth, they are so poorly realized that they detract by stealing away time that could have been used to probe deeper into Frances' character. She's the only interesting individual in this movie, and demoting her to the level of match-maker and problem-solver during the film's second half causes the story to lose focus and momentum. Does anyone really care about the self-absorbed English actress Katherine (Lindsay Duncan) who constantly quotes Federico Fellini? Or the star-crossed lovers who don't speak the same language and can't marry because her parents don't like him? Or the pregnant friend who decides to have her baby in Tuscany after she is abandoned by her lesbian partner?
The nice thing about Lane's performance is that there's a natural, unforced quality to it. This has always been the actress' trademark, and it turns out to be one of Under the Tuscan Sun's strengths, at least for as long as Wells keeps Frances at the undisputed center of events. Of the supporting actors, only two are worth mentioning. Sandra Oh brings a nice, cynical edge to the proceedings. Oh makes Patti a bluntly outspoken individual who shows an inner core of vulnerability. Meanwhile, Raoul Bova is suitably rugged and handsome as Marcello, the first Italian guy with whom Frances decides she wants to do more than flirt.
I am of the firm opinion that the term chick flick (which manifestly applies to this film) should not automatically disqualify men from enjoying the production or offering an opinion about it. The best entries into this genre, such as Fried Green Tomatoes, can pluck at the heartstrings of males and females. Unfortunately, Under the Tuscan Sun, despite starting out strong, never gets to a level where it can be considered universally appealing. It's a little disappointing to watch a strong character arc crumble, but that's the price of a lost focus. Under the Tuscan Sun isn't special enough to warrant a trip to the local multiplex unless you're in desperate need of an antidote to the lingering aftereffects of this past summer's testosterone overdose. In such a case, viewing this movie is understandable, if not entirely worthwhile. [Berardinelli's rating: 2.5 out of 4 stars = 62.5%
Labels: comedy, cross-cultural, Diane Lane, drama, romance
IMDb 67/100
MetaScore (critics=52, viewers=73)
RottenTomatoes Averages (critics=62, viewers=80)
Blu-ray
