IO SONO L'AMORE/ I AM LOVE

Italy, 2009, 120 minutes, Colour.

Tilda Swinton, Flavio Parenti, Edoardo Gabriellini, Alba Rohrwacher, Pippo Delbono, Maria Palato, Waris Ahluwalia, Gabrielle Ferzetti, Marisa Berenson.
Directed by Luca Guadagnino.

Italian film-making in the older classical style.

In the 1970s, Italian directors like Mauro Bolognini made films that were portraits of a time and, often, of a family immersed in that time. The films concentrated on the look and the feel of the period and situated their characters and their interactions and struggles in lavish tableaux, in melodramatic interchanges, sometimes quite operatic, with a score than emphasised this mood and this atmosphere. The same could be said of Io Sono L'Amore. However, the time and the setting are more of the present, the early 21st century.

The writer-director has had a long association with the star, Tilda Swinton, and they have been in pre-production for many years. While the film is about a family, an industrial dynasty from Milan, it is very much about her character, Emma, a Russian immigrant who has borne her business tycoon husband three children and has become the lady of the mansion. The long opening of the film shows her preparations for a birthday dinner, the arrival of the guests and their chatting at pre-dinner drinks and then the meal with a speech by the patriarch of the family and his handing over the reins of the business to his son and grandson.

It should be said that the film dwells lovingly and in close-up on rooms and furnishings, art work and, especially, sumptuous meals and table settings.

And it goes on from there... Business issues like selling the company, father eager, son opposed. Emotional issues like the daughter studying in England and coming out. The widow of the patriarch still asserting her influence. But, most of all, the focus is on Emma, her relationship with her husband who is business preoccupied, her love for her son, Edo, who wants to start a restaurant with his friend, Antonio, and eventually an affair with Antonio which transforms her but leads also to some grief.

Many reviewers have found the film elegant and involving. This reviewer admires the elegance but, despite Tilda Swinton's nuanced performance, not so involving. Part of the difficulty (which, it should be said, was a great plus for many including Tilda Swinton, the director and the producers) was the use of selections of music by John Adams. At times the score counterpointed the action but, often, it seemed incongruous, especially in the long credits sequence, tracking through the snowy suburbs of Milan, to a disconcertingly jaunty accompaniment.

It is, however, a strong attempt to embrace Italian traditional film-making and use it for a contemporary story.

1. A contemporary Italian family story? The range of characters and relationships? Traditions and inheritance? Industry and companies and changing financial situations? Contemporary restaurants?

2. The Milan setting, the glimpses of the city, the streets, churches, cathedral? The homes, interiors, dining rooms, kitchens, corridors? The sequences in San Remo, the town, the mountains, the woods? The sequences in London, the views of London and the business district, offices? The streets? An authentic feel for European cities in the 21st-century?

3. The musical score, the range of music and songs, as background for the action?

4. The title, with reference to Emma? To the other characters?

5. The background history of the family, the grandfather and establishing the fabric firm, the patriarch, his son, management of the firm? Changing industrial situations? Whether to sell the company or not? The view of the grandfather? Tancredi, inheriting, going to London, the discussions at the board meeting, the American Indian buyer, Edoardo and his presence, agreeing or not? The return to Milan, the lavish dinner for the new owner? His presence, the discussions?

6. The opening meal, its long running time, the details of the preparation and the different courses? The kitchen staff? Emma, as hostess, preparing? Tancredi as host? His father, guest of honour, the reception, the grandchildren, Eva, the discussion, speeches, presence? The family unit?

7. Emma, a Russian background, her original name, Tancredi going to Russia, her falling in love, marrying, coming to Milan, his giving her the name Emma? Her life in Milan, wealthy, social, her relationship with her children? Her relationship with her maid, Ida? Ida as serving, confidante? Emotional support?

8. Edoardo’s story, his age, his place in the company, his later visit to the factory, walking through it, going to the dining room, memories with his grandfather, Eva and the meal with him? His relationship with Eva, engagement? The background of his race, losing, everybody’s comments, Antonio as the winner – and Antonio coming to the door with the food? The plan for the restaurant, in the mountains? Getting his father’s support? Financial? The scenes with Antonio, their friendship, recipes and plans? His going to London, the return, his realising the truth about his mother, the issue of the soup, his favourite and his mother giving the recipe to Antonio? His seeing the book with Antonio? His leaving the meal, confronting his mother, falling into the pool, his injuries, hospital, his death?

9. Betta’s story? Her mother finding the photos and the CD, the revelation about her relationships, sexuality, plans, in England? The returning home, the discussion with her mother? Her coming out? Her partner? The support of her mother? Of Edoardo? Her returning to London, her partner? The return home, the dinner, grief of Edoardo’s death?

10. The other members of the family, her other son, his plans? His wife?

11. Emma, the discussions with her mother, her place in the family?

12. Antonio, chef, in the mountains, his interest in Emma, her visit, the sexual encounter, the aftermath and her laughing? Her return? The long sequence of lovemaking and its impact? Their being together, the book, the recipe, in the kitchen? Antonio returning to cater for the meal for the businessman?

13. Tancredi, his way of life, his father, the company, relationship with Emma, the growing distance, his children, the meeting in London? Comforting Emma, her telling him about Antonio – and his disowning her?

14. Edoardo’s death, the funeral, the mourning, the family gathered, Emma and her seeming stunned, telling the truth to Tancredi, the comfort with Ida, her changing her clothes, coming downstairs, better seeing her – and her disappearing?

15. The Italian tone of this family story – and universal?