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Bella addormentata (2012) HD online

Bella addormentata (2012) HD online
Language: English
Category: Movie / Drama
Original Title: Bella addormentata
Director: Marco Bellocchio
Writers: Marco Bellocchio,Marco Bellocchio
Released: 2012
Budget: €5,700,000
Duration: 1h 55min
Video type: Movie
A mosaic of several intertwined stories questioning the meaning of life, love and hope, set during the last six days in the life of Eluana Englaro, a young woman who spent 17 years in a vegetative state.
Cast overview, first billed only:
Toni Servillo Toni Servillo - Uliano Beffardi
Isabelle Huppert Isabelle Huppert - Divina Madre
Alba Rohrwacher Alba Rohrwacher - Maria
Michele Riondino Michele Riondino - Roberto
Maya Sansa Maya Sansa - Rossa
Pier Giorgio Bellocchio Pier Giorgio Bellocchio - Dr. Pallido
Gianmarco Tognazzi Gianmarco Tognazzi - Marito della Divina Madre (as Gian Marco Tognazzi)
Brenno Placido Brenno Placido - Federico
Fabrizio Falco Fabrizio Falco - Pipino
Gigio Morra Gigio Morra - Il persuasore
Federica Fracassi Federica Fracassi - Madre
Roberto Herlitzka Roberto Herlitzka - Lo psichiatra
Carlotta Cimador Carlotta Cimador - Rosa
Antonio De Matteo Antonio De Matteo - Medico Scommettitore
Vanessa Scalera Vanessa Scalera - Deputato PD

Marco Bellocchio originally imagined the character of Rossa to be in her early twenties but during the first auditions he felt that the dialogue didn't ring true for such a young character. Eventually he decided to change the character's age and cast Maya Sansa in the role.

Several scenes of the film were shot outside the real nursing home in Udine where Eluana Englaro was moved and her feeding discontinued. Some of the extras playing the protesters were the same people who protested in 2009 when Eluana Englaro was moved in Udine.

Even if based on Eluana Englaro's real life story, she is not depicted in the film as a character, nor is any of her family members.

From the very beginning, the movie's production caused an anguished debate in Friuli Venezia Giulia (the Italian region where the movie was almost entirely shot). The Region board tried to prevent the production company from receiving the allocated funds from the local Film Commission. The debate was so strong that it culminated with the Board's drastic, much-criticized decision to suppress the whole Friuli Venezia Giulia Film Commission.

The movie was shot over ten weeks: seven in Friuli Venezia Giulia and three in Rome.

Michele Riondino filmed his last scene on his birthday (March 14, 2012). The cast & crew celebrated with a small party on the highway-cafeteria the scene was set in.

Loosely based on the controversial, real-life case of Eluana Englaro, a young woman who lived 17 years in a vegetative state, until her family took the decision to discontinue the tube feeding. The case was the focus of a court battle between supporters and opponents of euthanasia. One of the segments of the film (the one starring Toni Servillo as a politician) refers to Italian Prime Minister Silvio Berlusconi's last-minute decision to issue a decree that would have forced the treatment of Eluana.



Reviews: [5]

  • avatar

    Sharpmane

    Marco Bellocchio's new film is a circumspect anatomy of mercy killing. In the four cases he dramatizes there are different balances between the public and the private interest. One inference is that on this issue there are such pronounced differences that humanitarianism cannot be served by a single template of admissible conduct.

    The film begins with the most public case, based on the 2009 controversy in Italy when Beppe Englaro decided to take his comatose daughter Eluana off her life support system. (A similar scandal roiled the US at the time.) There were angry demonstrations for and against this intervention. Here the Italian parliament is about to debate the right-wing government's motion to prevent this euthanasia. The other cases lead from this public one to three more private ones.

    The title points us to several dormant or sleeping beauties here. Most obviously, they are the four comatose women. But perhaps there is an allegorical alternative: the beautiful love that sacrifices one's own righteousness and safety to bring the beloved relief, whether in taking or in saving a life. For more see www.yacowar.blogspot.com.
  • avatar

    Fenius

    "Bella addormentata" is a confused, long and boring film about euthanasia. There are two true events as the background of the story: the last days of an Italian woman called Eluana Englaro whose parents authorized euthanasia after seventeen years in a vegetative state and the voting of Italian politicians about the right of euthanasia during the government of Silvio Berlusconi. The acting is top-notch and the cinematography and camera work are excellent.

    However, the screenplay is a complete mess for those that do not know who Eluana Englaro is and what happened to her. There is no explanation about the big picture, forcing the viewer to stop the movie and research about her story. The entwined fictional stories are not engaging or romantic and there are only shallow discussions about the theme euthanasia or the fanaticism of religious people against this procedure. Based on the IMDb User Rating, maybe the viewers that have lived or followed the drama this woman might have enjoyed this film much more. My vote is four.

    Title (Brazil): "A Bela Que Dorme" ("The Beauty that Sleeps")
  • avatar

    Kupidon

    I liked Maurice Yacowar review and I agree mostly in what is saying, but for me is missing a jump in the analysis in order to see not only the factual elements but also the implicit meaning of the film. I think that the film is trying to show the sleeping Italy with Berlusconi and the beginning of the wake up. Although various review critic the political episode, for me it is clear the similarity of the actual way of doing politic with the Roman Empire, including the hot bath, the tunics. In the end, when Rosa the drugged woman opens the window and do not pull down, it is clear that life is gaining and Italy is waking and can live again.
  • avatar

    Shistus

    Marco Bellocchio's Dormant Beauty is a well-made movie. The film has good acting, good cinematography, decent dialogue, some interesting directing choices, strong themes, and all around is a very well done movie. Despite this though, the film suffers from a somewhat confusing story structure.

    There is a specific story in Dormant Beauty, but it is also about episodes that tackle such subjects as life, love and hope. Such stories are treated in an adult manner. Dormant Beauty is set in Italy, and is based on the true story of Eluana Englaro, a woman who, because of a car accident, is in a coma state. Her parents consider euthanasia, but isn't legal to do in Italy in her specific situation, and the church and politics get involved.

    Dormant Beauty is also about two other stories relating to acquaintances of Englaro. These stories don't feel that connected to each other, which makes the film seem like it's more of an anthology series in some ways, but the similarity in subject material is still evident. One of the stories is about a young woman trying to kill herself with heroin. I liked how they approached the topic of heroin and suicide and the acting was also very good. The other story is about a member of the political government of Berlusconi who refuses to join the party and wants to pursue a bill that will make euthanasia completely illegal in Italy. What I liked about the political story of the film was the way it was shot. After the death of a woman in the politician's story which he is sad about it, in the background, a political gathering is shown appearing from the politician's mind, but almost like it's happening right next to him, but it's not. That scene is incredibly powerful and powerfully acted.

    The film's score, small as it is, is quite good. Having a classical feel but also a modern mix as well.

    Dormant Beauty is a film with good intentions, but suffers from somewhat of an incoherent story, and a lack of a real style. It has its moments, and the setting looks great.
  • avatar

    Qwne

    I saw this film at the Film Fest Ghent 2014, where it was part of the official Global Cinema selection. It presents several intertwined stories revolving around issues of live and death, and especially whether we are allowed to interfere. Each story zooms in on a different situation with a pending decision about the merits of continuing life when there is no hope for the future, be it an endless coma or endless addiction or endless pain. The three parallel story lines make the movie interesting, by highlighting various possible situations where this can be relevant. It allows different sides of the dilemma's to be brought forward. It is a pity that not all life-or-death choices get the same amount of focus around the final decision making, in particular we are not always in the clear how difficult it was to reach a decision, or do we know all the reasons why it was indefinitely postponed.

    A lot of attention was devoted to a member of parliament who was prepared to risk his career when deviating from the party line in defense for euthanasia under circumstances. He maintained his stance in spite of being pressured several times that he should not forget who (the party) gave him the position he had. Important for us to know is that he had his own experience with these issues. In the past he had ended the sickbed of his wife on her request. Actually, we saw him switching off the life support equipment. It's a pity that this scene was rather sketchy. We saw his wife asking for it, very possibly for the umpteenth time, but he may also have acted on impulse as far as we know. Thus we'll never know how long and how hard he struggled with the dilemma. His daughter supported an opposite opinion, and we see how it kept them on a distance for some time. Luckily, in the end of the movie she reads the speech he had prepared to explain his deviating vote in parliament. We observed a glimpse of mutual understanding. In other words, there is a chance that she will get a better feeling for his point of view. This was the final scene; a definite change of her mind is left open ended.

    Also a lot of attention was devoted to Eluano's family, a well known case that was heavily debated in Italy. The impact of her 17 years lasting coma, with all the public discussions around her, was showing on all members of the household. Especially her parents had opposite views on the matter, but both hesitated to take definitive action either way. We saw of lot of visitors insisting on praying for Eluano to keep her on life support, and we saw similar praying sessions elsewhere, all of these along the religious view lines on the matter, and particularly against any action to terminate her life. Such a continuous influence cannot fail to leave a lasting impression, even knowing that it is very easy for outsiders to take a formalistic stand in this, not seeing the daily struggle of the parents.

    A side note: We were lucky that we did not have to endure Berlusconi in action. We only saw him on TV a few times but for short moments. And he was mentioned several times. For instance, there was a lot of signage outside the hospital where his help was called upon to prevent Eluano from being "murdered" (not my words).

    All in all, though a commendable attempt to involve us in relevant discussions about the subject at hand, the movie failed halfway. This is mostly due to the scenario trying to entertain three parallel story lines while failing to maintain an even balance when showing the dilemma's and the decision making within the respective stories. Further, I was a bit confused at first, as it was not clear upfront who was who, what their connection was with the subject of euthanasia, and how they related to each other. After seeing this film, I cannot imagine that anyone has changed his of her mind. Nevertheless, it may serve as an opening for discussion in a group of people with an interest in the matter. I think that to be the primary merit of this movie. Everyone can easily recognize their own dilemma's, and thereby identify themselves with the central theme.