(Italy, I miss you more than I could ever say…)
CAST: Giovanna Mezzogiorno, Massimo Girroti, Raoul Bova, Filippo Negro, Serra Yilmaz, Maria Grazia Bon.
DIRECTOR: Ferzan Ozpetek
WARNING: Some SPOILERS and one huge love letter to Bella Italia and its gorgeous denizens - straight ahead…
LA FINESTRA DI FRONTE is one of my favorite films of all-time. Translated into English, the title means “The Window In Front” or “The Opposite Window“. In the United States, LA FINESTRA DI FRONTE was released under the alternate title of FACING WINDOWS, which is appropriate, but just not as lovely-sounding as the original Italian title. Just saying “La Finestra Di Fronte” takes you away to another place… the lovely, lovely land of Italy. I should also point out that LA FINESTRA DI FRONTE was also directed by Ferzan Ozpetek, who helmed one of my other all-time favorite films: the melancholy but ultimately hopeful Turkish/Italian gay romance STEAM: THE TURKISH BATH, which makes BROKEBACK MOUNTAIN look pallid by comparison.
Like STEAM, another male/male romance is at the heart of LA FINESTRA DI FRONTE. On the surface, though, it’s about the love triangle between three very beautiful citizens of Rome, Italy: (1) Giovanna (Giovanna Mezzogiorno), unhappy housewife who longs to quite her chicken factory job and open her own pastry shop; (2) Filippo (Filippo Negro), Giovanna’s down-on-his-luck blue-collar husband who also happens to have the biggest heart; and (3) Lorenzo (Raoul Bova), white-collar banker who lives in the building across from Giovanna and Filippo - and whom Giovanna has been watching from their kitchen window.
One day, while arguing about something inconsequential, Giovanna and Filippo run into a dazed old man (Massimo Girroti) who can‘t remember anything - let alone his own name. This is where we learn of Filippo’s big heart: he takes pity on the old man and persuades Giovanna to take him home with them. Filippo tells his reluctant wife that it’ll just be until they can turn the old man to the police who will surely help him. Of course, things don’t pan out that way, and Filippo and Giovanna find themselves allowing the old man to stay a few nights.
Meanwhile, while all of this has been going on, we learn that Giovanna has been noticing the handsome Lorenzo who lives in a flat across the way. Her kitchen window has a direct view of his bedroom window, and she’s been catching tantalizingly glimpses of him each night. Given that Filippo and Giovanna’s marriage is on shaky ground, Lorenzo’s beautiful presence across the way is somewhat of a temptation.
As Giovanna’s interest in Lorenzo grows, so does her fascination with the mysterious old man she and Filippo have “adopted”. She learns that his name might be “Simone” and that he is a concentration camp survivor. He also seems to be harboring some secret pain about a past love that ended unhappily - and is a talented baker himself. Soon, in a surprising turn of events, Giovanna and Lorenzo find themselves teaming up to solve the mystery of Simone’s identity - as well as his mystery lover.
Who is Simone, really? Who did he love - and lose? Is it the equally mysterious Davide Veroli? What happens when Giovanna pays Davide a visit? What secrets will she uncover? And while she’s trying to unravel the mystery of Simone’s lost love, how will her own love life fare? Will she succumb to her feelings for Lorenzo? Or will her sense of duty and responsibility keep her in Filippo’s arms and with her family? Will she take Simone’s advice and start her own pastry shop? How will Simone’s life story dovetail with hers?
The most beautiful thing about LA FINESTRA DI FRONTE is finding out the answers to the above…
BUT, EVEN MORE SERIOUSLY: I first saw LA FINESTRA DI FRONTE when I was living in Italy in 2003. I’d heard the wonderful title theme music by Andrea Guerra (the music that plays over both the Italian and U.S. trailers above) over and over again on the radio, and was surprised to find out it was the score for a film. I ended up seeing LA FINESTRA DI FRONTE with some Italian friends based solely on its vibrant and soulful music, and was able to follow along with the plot even without English subtitles (my Italian was much stronger back then), and made a very pleasant discovery: LA FINESTRA DI FRONTE was just as wonderful as its music.
Kind of an Italian mix of THE ENGLISH PATIENT and THE BRIDGES OF MADISON COUNTY, LA FINESTRA DI FRONTE poses some very provocative questions: (1) Would you throw away a solid, if imperfect relationship, for one that is passionate but possibly short-lived? (2) Does love (and the people we love) really live on in our memories, or is it (and they) swept away and forgotten with the passing of time? (3) is your life worth living if you’re only marking time and going through the motions? (4) do you have the strength to walk away from someone you deeply love if it will mean their safety and well-being? Could you make that kind of selfless sacrifice? And (5) by the same token, do you have the courage to fight and make a stand for someone you love?
LA FINESTRA DI FRONTE poses all of these questions and answers them, all in a very poignant way. The central mystery of who “Davide Veroli” and “Simone” really were is the true emotional core of the film. The love story in the present between Giovanna, Filippo, and Lorenzo is interesting, but definitely second to the love story in the past between Davide and Simone. The script’s treatment of Giovanna and Fillipo is interesting - both are presented as imperfect but decent people who are discovering that marriage is one of the hardest things to get right - and requires hard work, understanding, sacrifice, and forgiveness.
It also helps immensely that Giovanna Mezzogiorno and Filippo Negro are absolutely terrific in their roles. Mezzogiorno looks like an Italian blend of Rachel Ward and Debra Winger, and has eyes that say so much even when she’s not speaking. Mezzogiorno is not afraid to play up Giovanna’s rough edges, which prevents the character from turning into the type of bland, idealized heroine that you find in many American films. Even with her imperfections, you still can’t help but be be riveted by her. Watch for the heartbreaking scene towards the end (glimpsed in both the Italian and US trailers above) where Giovanna runs frantically down the stairwell of her building to try and reach Lorenzo below before he drives away forever. If this scene doesn’t move you, you may not be capable of feeling anything.
Filippo Negro does the same magic with Filippo (notice how their characters have their names?), turning him into a blend of fiery temper, kind heart, and tender soul. Negro matches Mezzogiorno, scene for scene - and they make a very believable beleaguered married couple. Just like Mezzogiorno, Negro plays all of Filippo’s sides: good, not-so-good, and in-between. The result is a character that rings true, just like Giovanna. This is a couple that I see everyday, here in the States and also back in Italy.
The only weak spot (and it pains me to write this) is Raoul Bova as Lorenzo - the third point of the triangle. Bova is one of the most attractive men in the world, and he is the spitting image of a close Italian friend who recently visited me, but he is saddled with a character that is too idealized - and therefore a bit bland. Lorenzo is never given much characterization beyond being polished, handsome, and upwardly mobile. By contrast, Filippo - with his open heart and rough edges - is a far more interesting choice. Bova does what he can, but Lorenzo doesn’t get as much shading as everyone else. Had the writers fleshed out Lorenzo a lot more and made him less “perfect” then LA FINESTRA DI FRONTE would rate ****½ (spectacular) instead of just **** (very good).
Fortunately, Lorenzo’s “weak link” is more than made up for a very engaging turn by Massimo Girroti as the mysterious Simone, whose secrets and identity are what kickstart the story in the present, as well as the mystery from the past. Girroti brings a dignified sadness to the role, and you can almost sense him wrapping the memories around him like an armor - an armor that Giovanna tries to unravel while her own love life unravels around her. By the end, Giovanna understands the beauty of “segreto la memoria” - the “secret of memories“. To find out what it is, and to find out if Giovanna makes it down those stairs to reach Lorenzo in time to keep him from leaving, see LA FINESTRA DI FRONTE…
It just might make you consider relocating to Italy for good. Or at least play the wonderful musical score by Andrea Guerra over and over and over again….
