(Some spoilers) ARTURO'S ISLAND is a moody film about a lonely, motherless fifteen-year-old boy living on the Island of Procida in the Bay of Naples and who, without any real guidance, must fend for himself. His absentee father only returns to visit when it is convenient. When he does return, the boy, who idolizes him (for a time), does everything to please him, but is generally treated with indifference.
The father, Wilhelm, is German and calls young Arturo "Moro" ("Moor") because of his complexion and southern Italian ways that seem to derive from his now-dead mother. "You've got your mother's southern blood," he tells his son. Wilhelm brings a 17-year-old girl, Nunziata, with him on his return and marries her. They have a child. Arturo has feelings for the girl himself She is closer to his age rather than his father, and the complex stirrings of love are made more confusing here by the fact that he must treat her as a stepmother. Unable to fulfill his sexual yearnings with Nunziata (this "stepmother" rejects the boy) Antonio finds solace in the person of Teresa, an island prostitute who takes him to bed and initiates the boy into sex. Complicating the situation is the character of Tonino, a criminal just released from prison and with whom the clearly bisexual dad Wilhelm is having a sexual relationship.
As time goes on the callousness of the father and the boy's violent confrontation with dad's shabby male lover, takes its toll on the boy, (with some elements analogous to what we have seen recently in the Russian film THE RETURN.) The boy rejects the father, leaves for the mainland presumably with the sense of isolation and loneliness left behind him as he seeks a happier life on his own while moving into adulthood.
The movie, directed with his characteristic skill with actors by Damiano Damiani, is a very satisfying little piece passed on a novel of Elsa Morante. The music by Carlo Rustichelli and the haunting photographic images of Procida by photographer Roberto Gerardi help immensely. Vanni De Maigret as young Antonio seethes with adolescent energy, poutiness, and is perfectly cut for the role. For much of the movie he is a shirtless embodiment of youthful sexuality and yearning. Reginald Kernan as Wilhelm, the model of non-ideal parenthood, is fine, as are the women in the cast.
This film, which played almost nowhere after its initial unsuccessful release, and had scant distribution thereafter, has receded into almost total oblivion apart from some late-night TV showings many years ago. A shame, because there is much to appreciate here.
The father, Wilhelm, is German and calls young Arturo "Moro" ("Moor") because of his complexion and southern Italian ways that seem to derive from his now-dead mother. "You've got your mother's southern blood," he tells his son. Wilhelm brings a 17-year-old girl, Nunziata, with him on his return and marries her. They have a child. Arturo has feelings for the girl himself She is closer to his age rather than his father, and the complex stirrings of love are made more confusing here by the fact that he must treat her as a stepmother. Unable to fulfill his sexual yearnings with Nunziata (this "stepmother" rejects the boy) Antonio finds solace in the person of Teresa, an island prostitute who takes him to bed and initiates the boy into sex. Complicating the situation is the character of Tonino, a criminal just released from prison and with whom the clearly bisexual dad Wilhelm is having a sexual relationship.
As time goes on the callousness of the father and the boy's violent confrontation with dad's shabby male lover, takes its toll on the boy, (with some elements analogous to what we have seen recently in the Russian film THE RETURN.) The boy rejects the father, leaves for the mainland presumably with the sense of isolation and loneliness left behind him as he seeks a happier life on his own while moving into adulthood.
The movie, directed with his characteristic skill with actors by Damiano Damiani, is a very satisfying little piece passed on a novel of Elsa Morante. The music by Carlo Rustichelli and the haunting photographic images of Procida by photographer Roberto Gerardi help immensely. Vanni De Maigret as young Antonio seethes with adolescent energy, poutiness, and is perfectly cut for the role. For much of the movie he is a shirtless embodiment of youthful sexuality and yearning. Reginald Kernan as Wilhelm, the model of non-ideal parenthood, is fine, as are the women in the cast.
This film, which played almost nowhere after its initial unsuccessful release, and had scant distribution thereafter, has receded into almost total oblivion apart from some late-night TV showings many years ago. A shame, because there is much to appreciate here.