The parallel is inescapable, giving “制作在Italy” an undercurrent of sorrow, despite the sun-dappled Tuscan scenery and the ill-advised attempts at wacky physical hijinks. But in making his feature writing and directing debut, longtime actor James D’Arcy has come up with a visually appealing yet emotionally inconsistent film. His story is filled with contrivances and arbitrary deadlines to get big things done, and his supporting female characters are little more than one-dimensional props to help move the story along. And while D’Arcy fares far better with the dramatic moments than the comedic ones, that’s mainly because the veteran and venerable Neeson is up to the task of heavy lifting; Richardson, unfortunately, can’t quite keep up and weirdly seems miscast, despite the resemblance to his famous father. (Richardson also played Neeson’s son last year in the revenge thriller remake “Cold Pursuit“。）
Naturally, the house is in a far worse state of disrepair than they’d expected when they arrive. (The greatLindsay Duncanhas some amusing moments as the uptight real estate agent who gives them tips on whipping it into shape.) But the nearby town is beyond adorable—the kind of place you’d expect to see Elio and Oliver blissfully riding their bicycles and calling each other by their names—which might put the seed of an idea in your mind that, hmm, maybe these guys won’t end up selling the house after all. Everybody knows everybody, and at night they all gather in the square to drink red wine and watch old, black-and-white movies under the stars.
在天堂的这一小片的中心是方便单纳塔利娅（瓦莱里娅比莱洛), a chef who runs a quaint restaurant that’s the neighborhood hot spot. Natalia is impossibly beautiful and charming as well as a playful and warmhearted mom to an eight-year-old girl. And yet her entire raison d’etre in “制作在Italy” is to make Jack face his long-suppressed feelings about his own mother and his childhood in this magical place.
“我不认为我知道如何去伤心，”杰克说，他紧锁的眉头，理查德森的去到设备。But when the eventual breakthrough comes for both father and son—when they finally hug and cry and release years of pent-up despair—there’s enough inherent emotion in that moment that D’Arcy didn’t have to smother it with a dramatic score and needless edits. This scene in particular highlights that while Richardson may have a fine screen presence, he’s not nearly up to Neeson’s level of technique and experience, and the disparity is distracting. Then again, Richardson doesn’t have a lot to work with because there’s not much to his character.
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