×
You will be redirected back to your article in seconds

The Moon and the Stars

"The Moon and the Stars" feels stilted and irrelevant. Directed by vet Brit helmer John Irvin with a fraction of his former energy, pic is classic Euro-pudding, with a strange Blighty overlay on a saga about a struggling film crew making a non-operatic version of "Tosca" at Cinecitta Studios.

With:
James Clavel - Jonathan Pryce Davide Rieti - Alfred Molina Kristina Baumgarten - Catherine McCormack

Although it’s made as a love letter to the movies and antifascist freedom, “The Moon and the Stars” feels stilted and irrelevant. Directed by vet Brit helmer John Irvin with a fraction of his former energy, pic is classic Euro-pudding, with a strange Blighty overlay on a saga about a struggling film crew making a non-operatic version of “Tosca” at Cinecitta Studios. Though English-language script by Peter Barnes, plus a cast led by Alfred Molina, Jonathan Pryce and Catherine McCormack, was intended to help world sales, the pic’s best hopes are with cablers and vid.

The Italian-English-Hungarian co-production comes off as a phony attempt to recapture the interesting, misunderstood period of Italo filmmaking under Mussolini. The only truly fascinating aspect is how the fictional film crew –Italian producer Davide Rieti (Molina), Hungarian director Lazlo Molnar (Andras Balint), German actress Kristina Baumgarten as Tosca (McCormack) and Brit thesp James Clavel as Scarpia (Pryce) — reflects the production’s own multinational nature.

With winds of war stirring in 1939, project is treated by everyone involved as an escape from real-world pressures, which Davide especially experiences since he’s cash-strapped, Jewish and gay — the worst kind of triple-whammy in fascist Italy. Davide keeps a young lover, rising screen heartthrob Renzo (Rupert Friend), and casts him in a prime supporting role opposite Maria Grazia (Surama De Castro), while Kristina takes her assignment seriously, and alcoholic and addictive James is there strictly for the money.

Barnes’ dialogue overdoes the obvious point that Kristina and James rep European poles that are destined to go to war against each other.

Indeed, script’s consistent problem is its proclivity for turning potentially complex human beings into symbols. Thus, Davide’s identity crisis and need to have a fascist patron in Annibale (Ivano Marescotti) make him the standard conformist, while Molnar — who works at his own pace, spouts liberal ideas and begs to shoot one nude scene — is the artist as libertarian.

As filming proceeds, Davide’s money problems grow so grave that he must use his painting collection as collateral, and antifascist set decorator Marchesini (Ignazio Oliva) is beat up in front of the film crew by brownshirt thugs.

Kristina is dogged by a ridiculous young man (Niccolo Senni) who nearly burns down the set and ends up triggering an unintentionally kitschy re-creation of Davide’s painting depicting Marat’s suicide. Image is telling, for while the pic means to celebrate filmmaking as a creative, civilizing act, it’s tone-deaf to its own lack of taste, wit or drama.

A stiff “Masterpiece Theater” variation of the kind of awkward Euro production most memorably depicted in Godard’s “Contempt,” “Moon” almost never captures what moviemaking is really like, and a final sequence of the crew in marathon all-night mode is plainly false.

Pryce and McCormack are unable to make their barely budding romance credible, while Molina stands out as a good man trapped by forces far beyond his control. Largely Italo support struggles with heavily Anglicized dialogue.

In opening sequences, pic displays the Cinecitta property as extensively as Antonioni did in “The Lady Without Camellias” and Visconti did in “Bellissima,” but, unlike those two directors, Irvin shows little interest in using the grand set piece cinematically.

Disappointingly, Irvin allows few fun glimpses of other productions at the busy studio founded by Mussolini two years prior to the action — a home for the period’s popular “pink telephone” pics and hyper-nationalist epics. Production values are blah.

Popular on Variety

The Moon and the Stars

Italy-U.K.-Hungary

Production: A Myriad Pictures/Buskin Film/Box Film/Creative Partners Intl. presentation. (International sales: Myriad Pictures, Santa Monica.) Produced by Antonio Guadalupi, Roberto Bessi, Andre Djaoui, Patrick Irwin, Aron Sipos. Directed by John Irvin. Screenplay, Peter Barnes; story, Fabio Carpi.

Crew: Camera (Technicolor/B&W), Elemer Ragalyi; editor, Toby Yates; music, Adriano Maria Vitali; production designer, Amedeo Fago; set decorator, Lucio Di Domenico; costume designer, Alberto Verso; sound (Dolby Digital), Giancarlo Dellapina; supervising sound editor, Tim Lewiston; special effects supervisor, Ferenc Deak; line producer, Andrea Borella; casting, Shaila Rubin, Liora Reich. Reviewed at Palm Springs Film Festival (World Cinema Now), Jan. 11, 2006. Running time: 102 MIN.

With: James Clavel - Jonathan Pryce Davide Rieti - Alfred Molina Kristina Baumgarten - Catherine McCormackWith: Rupert Friend, Andras Balint, Joanna Scanlan, Niccolo Senni, Ivano Marescotti, Surama De Castro, Ignazio Oliva.

More Film

  • 4127_D015_00199_RC(l-r) Laura Carmichael stars as Lady

    Box Office: 'Downton Abbey' Beats 'Ad Astra,' 'Rambo: Last Blood' on Thursday Night

    “Downton Abbey,” the movie continuation of the hit TV series centering on the Crawley family, has won Thursday previews with $2.1 million from 2,800 North American locations. Meanwhile, Brad Pitt’s space drama “Ad Astra” has launched with $1.5 million in previews, while Sylvester Stallone’s action-thriller “Rambo: Last Blood” scooped up $1.3 million at nearly 2,900 [...]

  • Renee Zellweger'Judy' film premiere, Arrivals, Samuel

    'Judy's' L.A. Premiere: Renée Zellweger Takes Another Ruby Step Toward the Oscars

    Renée Zellweger continues to follow the yellow brick road to the Oscars. The Los Angeles premiere of Judy on Thursday night in Beverly Hills kept the Academy Award winner on track for a possible second win come February. “We’re just so happy we’re able to share it with you tonight,” Zellweger said to the crowd [...]

  • Benedict Andrews (L) and US actress

    Kristen Stewart on the 'Insane Gall' of Directors as 'Seberg' Arrives in San Sebastian

    SAN SEBASTIAN – On Friday, Kristen Stewart and Benedict Andrews’ political thriller “Seberg” plays at the 67th San Sebastian Film Festival, where it opens Perlak, a section dedicated to the Spanish premieres of major international films. The star and her director addressed the media prior to the screening in the festival’s first high-profile press conference, [...]

  • Les Miserables

    Ladj Ly's Cannes Prize-Winner 'Les Miserables' Is France's Oscar Submission

    Ladj Ly’s politically charged drama “Les Miserables,” which won the Jury Prize at Cannes, has been chosen by France’s Oscar committee to enter the international feature film race. In one of the most competitive years for French movies, “Les Miserables” beat out Celine Sciamma’s “Portrait of a Lady on Fire,” the 18th-century-set romance which won [...]

  • David Kehrl neuer Head of Acquisitions

    'Resident Evil's' Constantin Names Acquisitions, International Co-Production Chief

    David Kehrl is to join Constantin Film, Germany’s leading independent movie producer and distributor, as the head of acquisitions and international co-production. He will report to Martin Moszkowicz, chairman of the executive board at Constantin Film, which produces the “Resident Evil” movies. Starting in February, Kehrl will be responsible for the acquisition of international theatrical [...]

  • The Plague Season 2 Spanish TV

    Telefonica, Atresmedia to Create Content Factory Behemoth

    SAN SEBASTIAN  — In a game-changing move for Spanish-language production Telefonica, Europe’s third biggest telco, and Atresmedia, the original co-creators of “La Casa de Papel,” are uniting to create a new joint contents production giant. Aimed at gaining more scale and uniting talent relations – writers, directors and producers – the 50/50 joint venture will [...]

  • KKR-Backed German Media Conglomerate Finally Has

    KKR-Backed German Media Conglomerate Finally Has a Name: Leonine

    The KKR-backed German media company formed through the merger of Tele München Group, Universum Film, i&u TV, and Wiedemann & Berg Film finally has a name: Leonine. The company revealed its moniker Friday, saying that “Leonine” met its criteria of being associated with its home region of Bavaria and Munich, in southern Germany, and of [...]

More From Our Brands

Access exclusive content