Review of “Genova”
Taking a clear cue from Nicolas Roeg’s 1973 Don’t Look Now (about a man loosing himself in the narrow lanes of Venice after the death of his daughter) prolific British director Nicolas Winterbottom takes us on a floaty and emotionally charged sojourn to Genova where lecturer Joe (Colin Firth) is looking to move on after the death of his wife. A strange and lazy mix of travelogue, coming of age story, and family drama complete with ghosts, the film’s strength lies in its ability to hold you in a constant state of heightened awareness – perhaps as experienced after a tragedy – but many will find the lack of narrative focus a tad frustrating.
After the death of his wife in a car accident in wintry Chicago, Joe decides to take his two young daughters Kelly (Willa Holland) and Mary (Perla Haney-Jardine) to Genova where he’s secured a teaching position for a year. On arrival in summer, Joe’s old friend and tour guide Barbara (Catherine Keener) gives them - and us - a brief and unnecessary introduction to the town and its history. The family then settles into an apartment in the middle of town, and the various elements of the narrative open up and flow in their own directions. The very English Joe maintains a “chin up chaps” approach to the loss of his wife and slowly allows himself to take an interest in one of his female students, whilst the stunning teenaged Kelly – teetering dangerously on the verge of adulthood – explores alcohol, cigarettes, mopeds and men. As a direct contrast, younger daughter Mary – haunted by her mother’s image - looks for spiritual solace in the many churches of the old town. All three are using the new world of Genova to find some sense of themselves again.
At times the film is beautiful and very moving – placing us as privileged observers in an emotionally charged world set to burst at any moment. At other times the distracted nature of the piece is wearying. Yet the constant is a carefully controlled sense of menace wherever we go – from the cramped alleyways of the old town to the steep rocky cliffs of the beach, from the cool interiors of ancient churches to the busy car filled streets. Everything, Winterbottom seems to be saying, jangles the soul after a personal tragedy like this.
The performances are naturalistic and superbly observed – particularly from Willa Holland (who made her name on television’s The O.C.) - and the subtle touch of Winterbottom ensures the project never veers into melodrama.
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