YOUTH

Italy/UK, 2015, 124 minutes, Colour.
Michael Caine, Hartley Keitel, Rachel Weisz, Paul Dano, Jane Fonda, Alexander Mc Queen, Paloma Faith, Ed Stoppard.
Directed by Paolo Sorrentino.

Youth won an award for the European film of the year and Michael Caine as best actor and life achievement.

In seeing that Michael Caine is the star of the film and is supported by Hartley Keitel, prospective audiences might be wondering about the title, the blunt statement of youth. As might be expected, Youth does not feature so explicitly but, rather, youth is a time in memory, in nostalgia, in happiness, in regrets.

This is a film by Italian director Paolo Sorrentino who made a breakthrough in Italian Cinema at the beginning of the century, then developed an international reputation, especially with Il Divo, portrait of the Italian politician,. He then made a film in English, This is The Place, with Sean Penn and Frances Mc Dormand, an interesting if sometimes bizarre portrait of a rock singer searching for his family and background in the United States. Then he won the Academy Award for Best Foreign Language film in 2012 for The Great Beauty. This was quite an extraordinary film about an ageing Italian, Italian society, a background of decadence, of affluence, of ecclesiastical patronage, something of a narrative, something of an essay, something of a poeml on about Italian life. Many noticed reminiscences of the work of Federico Fellini, especially seeing this film as an update, so to speak, of La Dolce Vita.

The influence of Fellini comes to mind also with Youth. This time it is with Fellini’s 8 ½, the story of an artist in a resort, reflecting on his life, his relationships – amid some of Fellini-like grotesques at a resort with its baths.

This time the resort is in the mountains of Switzerland, beautiful locations, a haven for affluent customers, hotel luxury rooms, dining, constant masseuses according to a health program, the baths, walks in the countryside. There is a wide range of clients, ordinary people, a Hollywood star, a large sports celebrity, Miss Universe…

The main focus is on Fred, Michael Caine, a retired composer and conductor, there for his health. He is pursued by an emissary from Queen Elizabeth with the request that he come to conduct a performance of his Simple Songs for herself and the Duke of Edinburgh and to have him to receive a knighthood. He is strongly against the idea, the songs only for himself and for his wife, who sang them. Also with him is his assistant, his daughter Lena, Rachel Weisz, who works with her father but has bad memories of his neglect in her childhood, the treatment of her mother, and she has several scenes where she upbraids him. At this time, she is being dumped by her husband for a younger woman, a pop star, Paloma Faith. Her husband is the son of Fred’s best friend, Michael, Harvey Keitel, who is also at the resort, this time with some ambitions, his final film and discussions with his collaborative team of five, a film that would be his life’s testament. Fred is over 80, Michael almost 80.

Also at the resort is a Hollywood star, Jimmy, played by Paul Dano, relaxing and having treatment as he thinks over his interpretation of his next film role. As with the audience, he is an observer of what goes on at the resort and of the characters.

There is a lot of talk, a lot of walking, a lot of reminiscing, Fred thinking about a girl who he was in love with and Michael’s behaviour with her, as well as reflection on his wife and her descent into dementia.

And as if this was not enough old people reflecting on youth, suddenly Jane Fonda appears in a show-stopping performance as a ravaged ageing actress who starred in Michael’s films, won awards, but has become disillusioned with him, thinks his recent films rubbish, refuses to act in his current film, is going into television and moves into a tirade against him and his pretensions. This is quite a performance with quite a lot to say about movie stars, careers and age.

There is a salvation moment for Fred, a repeat of the invitation from the Queen – and some kind of peace for Fred, his daughter, the memory of his wife, his music.

Some people have described some of Sorrentino’s films as cinema poems – but another reviewer, taking a cue from the music theme, suggests that we might consider them, and Youth, as cinema symphonies.


1. The title? Ironies? Realities? A film about older people, the younger characters? The film and memory, yearning, waste of time and life?

2. Paolo Sorrentino and his career, in Italy, English-language films, European films?

3. The Swiss settings, the resort, the mountains and the walks, the resort and interiors, rooms, dining room, the bar?

4. The musical score, the range of songs, eclectic, popular music, music video, classical music, Fred’s Simple Songs?

5. The cast, awards, international?

6. The focus on Fred, Michael Caine and his reputation, screen presence? Character, age, career, conductor, composer? Relationship with his wife, dominating her, her acquiescence, the separation, the scene in Venice? Lena, his daughter, assistant, the criticisms of him? The memories of Gilda, the discussions with Michael, regrets? Lena’s comment about his homosexual choice? At the resort, the cleansing, massage, health, idle, talking?

7. The request from the Queen, the urgency of the messenger, his bodyguards, Fred refusing, personal grounds? The messenger returning, Lena present and listening, the revelation about his wife and her singing the songs? The only one to sing them? His visit to Venice, seeing his wife? His decision to go to the concert, presence, the Queen and the Duke of Edinburgh, the singer, the music, his conducting? Taking about?

8. The treatment at the resort, cleansing, the variety of massage scenes, the baths? The doctors, the massage? Interviews about health? The large sportsman and his vanity? Miss Universe?

9. Harvey Keitel as Michael, his age, film director, strong career, at the end of his career, all the discussions about the film, with the crew and the writers? His last film to be a personal testament? His memories of Brenda Morrell, the background, starring in his films, her background, from the streets? Her awards? The rehearsals, the reflection of his career, his son and his marriage to Lena, his he sudden coming to the meeting, with the pop star, the separation? Michael’s decades-long friendship with Fred, the going for walks, the memory of Gilda, Michael’s story, riding a horse and falling off? Brenda’s arrival, the conversation, her attack, withdrawal from the film, condemnation of his career? Talking with Fred, memories of getting on the horse and falling off, his killing himself?

10. Lena, in herself, the marriage and its failure, the criticism of sexual behaviour? Her husband leaving? As assistant to her father? The long discussions, telling him the truth, the accusations? The night, the rock video and Paloma Faith? Listening to her father, talking with him, witnessing the request about playing for the Queen? Suggesting the visit to her mother?

11. Jimmy Tree, the American and young film actor, at the resort, preparing for his role, observing Fred, observing Michael? His interest, the discussions? His career?

12. The film opening with Paloma Faith, the song, the music video style, the revelation that she was to marry Michael’s son, asserting herself at the meeting?

13. Brenda’s sudden arrival, Jane Fonda’s strong performance, the make up, her age, her career, memories of the street, her working with Michael, admiring him, success with him? His last films as worthless? The criticisms of him, his wanting a film as his testimony? Her comments about television, her role in the series, accepting it? As a catalyst for Michael’s killing himself? The scene on the plane, her hysterics, being held down?

14. The characters at the resort, the masseurs, doctors, the young girl, dancing? The boy, playing the violin, Fred’s music, Fred advising him about improving his playing, his response? The levitating guru?

15. Michael visiting his wife, Venice, the memories, the effect on him, the visit to the tomb of Stravinsky and his wife? The flowers?

16. The emissary from the Queen, the return, pressing his case, Fred giving his reasons, personal, his wife?

17. The decision to play at the concert, his entry, the Queen and the Duke of Edinburgh, the soloist, the performance?

18. The film as Fred’s journey – and the relevance of the title?