User Reviews

On the surface we really are told a fairy-tale. But just on the surface. The movie is (to me) all about love(or passion) versus obsessionin in addition to loyalty versus betrayal all in the life of people. We see how a group of players loyal to themselves, their art, and to freedom manages to live and reach eventually beyond their time and life (even if they are just imaginary ghosts). Betraying member, who were loyal to herself only... A monster she became eventually. Not to spoil too much, lastly how important is doing or wanting things with passion and love no matter what it is (making cakes or becoming an artist) is presented in cute and clever way by the director. It seems that the message is that all that "small / ordinary" people are in fact the real/biggest/highest/ultimate "human" beings if they are okay with what they are and if they have intimacy, love and passion in their life.Being human is not that complicated and in fact is full of richness in so many distinct conditions and times

Ferzan Ozpetek's latest film is a modern ghost story, with its protagonist a young gay man (an actor-to-be), only this time, the sexual orientation drama leaves its spotlight to the haunting possession of a big family of dead theatrical actors who are trapped in an old house and disconnected from the real world, eager to find out who is the whistle-blower imputed to their tragic death during the WWII.

MAGNIFICENT PRESENCE has a resourceful collection of fodder, such as romance, haunted house, ghost retribution, gay-transvestite subculture, war-time friction, light comedy and so on, two dozens of characters at hand to deploy with, but the film never quite find its centre of gravity, it leaves many loose ends which frustratingly no one minds to care.

But eventually it can pass on as a moderate piece of work thanks to Elio Germano, this promising leading man in the recent Italian film scene, is the worthy saviour, he has won BEST ACTOR in Cannes 2010 for LA NOSTRA VITA (tied with Javier Bardem for BIUTIFUL). Elio owns the entire film, injecting a quirky laid-back energy into his character while grappling with heterogeneous accidents and happenings around him (an eerie transvestite/transsexual sweatshop with an obese kingpin is the wackiest among them all), his innocuous look and infantile personality renders the film a whiff of fairytale evocation. Anna Proclemer, a veteran Italian actress in her late 80s, takes on a key role which will solve all the mystery, has successfully exuded a fierce body of work in her limited stint. Otherwise, all the other supporting roles are more or less underdeveloped (including an ever-so-graceful Margherita Buy and a scene-stealer Mauro Coruzzi, a middle-aged transvestite).

I have watched quite a lot films from Ozpetek (arguably he is my favourite current Italian director though he is Turkish), the best ones are LOOSE CANNONS (2010, 8/10), SATURN IN OPPOSITION (2007, 8/10), FACING WINDOWS (2003, 8/10) and THE IGNORANT FAIRIES (2001, 8/10), MAGNIFICENT PRESENCE by comparison, has to degrade itself as a less achiever, but against all odds, Elio Germano and Anna Proclemer are the newcomers on my top 10 list this year (BEST LEADING ACTOR, BEST S. ACTRESS).

Once again Ozpetek takes us to a magical place, and entrances us with a sensitive and inspiring film. His two most famous films are probably FACING WINDOWS (2003, see my review) and SACRED HEART (2005, see my review), which are both classics and masterpieces of world cinema. His film LOOSE CANNONS (2010, see my review) is marvellous without quite being a classic. This one is somewhat better. It is difficult to describe, because it combines genres in a bold and astonishing way. Ozpetek took many risks with this film, which in the hands of a lesser director could have collapsed into a heap. But, as usual, Ozpetek makes the impossible work. The lead actor in the film is Elio Germano, who plays the character Pietro. He is utterly charming and delightful, and he holds the film together wonderfully. Germano has appeared in 49 films despite being only 34 years old, so he is a consummate professional. The entire cast is excellent, and there is a magnificent and tragic performance by Anna Proclemer as the elusive and mysterious Livia Morosini, whom Germano has to seek out under a false name in order to discover the truth of what happened in 1943. She was 88 at the time she played this, her very last role, and she died a few months later, in 2013. She was a magnificent actress but she only made 21 films in 60 years. However, those roles that she did play included George Sand, Annie Sullivan (the woman who taught Helen Keller, as portrayed in THE MIRACLE WORKER by Anne Bancroft in 1962), O'Neill's Anna Christie (originally portrayed by Garbo on screen), and Nastasja Filippova in an Italian TV series adaptation of Dostoevsky's THE IDIOT (1959, not to be confused with the modern Russian series based on that novel). The story of this film mixes fantasy with reality, always a dicey business, but Ozpetek gets away with it. Germano is thrilled when he finds a house to rent in the Monteverde district of Rome at an affordable price. But what he does not realize is that the property is haunted by a group of people who all died there in 1943 but who are trapped in the house and unable to move on. Germano is a lonely fellow, and he comes to accept the presence of the ghosts and interacts with them; they all speak to one another normally, but others cannot see them. This may sound absurd, but Ozpetek's sense of humour and whimsy results in our accepting the absurdity and watching the film sympathetically as the events unwind. Germano takes on the task of finding out what happened to the ghosts, how and why they died, and who betrayed them, because until they can realize this themselves they are stranded. So yet another layer of the film then takes shape, namely the solving of a historical mystery. This film interweaves humour, pathos, tragedy, comedy, fantasy and reality. That is a lot of threads to draw together, but it succeeds. The underlying unifier to all of this is Ozpetek's warm and gentle sense of humanity.

The main Özpetek's achievement is making the film absolutely sensible on every second. With various layers of meanings, light and shadows, music, lots of curious details and quite natural behavior of the characters. I feel like I can enter Pietro's house, walk in the streets and buy a croissant that he baked. And let it better be an Almodòvar-style than Marshall- or Niccol-style. Viewers don't have to be stunned and blinded by movies. They just have to sense all hidden hints and allusions. Otherwise a bit at a time they turn into zombies packed with pop-corn.

People should be more humane, sensitive and attentive to the world around us. And for this important reminding I'm really grateful - Özpetek, Teşekkürler!

A masterpiece of Ferzan Ozpetek that finally, after years, departs from his usual production. The plot is developed in a fun and fluid matter, and it is impossible to be bored or get lost along the way. Also perfect character development, very credible thanks to the extraordinary performances, one of all those of Elio Germano; his close-up in the final scene is an apotheosis. Great mastery of the musicians in recreating a magnificent soundtrack of the years Thirty that it falls within the context perfectly. There is not a flaw in the entire movie except, perhaps, that the ending is almost trivial and I would rather different. All in all a great movie to recommend highly!

This is the work of a mature storyteller who understands how to use film and music to lead the viewer into unusual and surprising places. There is much to delight an audience here, from subtle crossings and recrossings of genre boundaries, to moments of humor of an almost metaphysical dimension, to serious offerings of perspective on time, mortality, and history. I enjoyed particularly the way the filmmaker genially hoodwinks the viewer step by step into assenting to a story that becomes increasingly less predictable at the same time that its dependence on a sort of half-magical realism becomes more and more firmly established. The film does have an evident homoerotic subtext, and perhaps cultural 'flavor', but in a way that (for a change) does not limit its appeal. Rather, it reaches toward a kind universality that puts it in company with works of art that are for everyone whose heart and mind are in working order.