Don't Move ( Non ti muovere ) ( Do Not Move )

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La storia entra fin nelle viscere. la puoi amare o odiare. Io l'ho odiata, anche se riconosco che la Mazzantini ha messo a nudo l'animo umano con tutte le sue sfacettature. L'ha fatto in modo crudo con termini desueti, all'inizio, che a me hanno dato fastidio. Sembrava un compitino del tipo " guardate quanti termini e sinonimi conosco", ma ad ogni modo non si può negare come sia stata capace di mostrare questo amore malato, logorante e allo stesso tempo pieno di vita e di passione, che devasta i cuori, le menti e la vita. La storia e i personaggi mi hanno preso, nonostante alcuni momenti di odio puro, in cui avrei voluto buttare il libro dalla finestra. Forse perché erano momenti troppo forti, e disturbanti, che mi hanno urtato, facendomi quindi odiare il libro. Forse non era il momento giusto per leggerlo, chi lo sa. Ma questa storia d'amore intensa, viscerale, da far male per me è stato troppo. Leggere i pensieri di quest’uomo, leggere le sue brutture, mi ha fatto torcere le budella. Non volevo immedesimarmi in lui. Per nulla. Però allo stesso tempo l’ho amato, e voi direte che sono matta, lo so, ma il bello è proprio questo turbinio di emozioni che si provano insieme al protagonista, talmente si è connessi con lui. Emozioni che lo portano a fare e dire cose che non avrebbe mai fatto, nel bene e nel male, e che personalmente mi hanno lacerato e fatto arrabbiare.

A couple of other points. Elsa knows of course that her husband had fallen in love with someone else. She can sense it in the new passion he brings to making love to her. She can deduce it in his absences from her and from the change in his manner. But she never says a word. That is interesting. Perhaps she knows it will pass. And it does, but not before Timoteo performs a "marriage ceremony" at a hotel restaurant near the place of Italia's birth with Italia, and with the "reheated soup" and the wine and cheese as witnesses, and not before he fantasizes aloud with her of leaving his wife and newborn child and going to some far off place with her alone. Only tragedy, it would appear, prevents his leaving Elsa for the love of his life.

Durante il viaggio Italia ha un'emorragia interna causata dall'aborto mal eseguito. Arrivati in un ospedale in costruzione, Timoteo aveva inutilmente tentato di salvarle la vita. La donna era morta durante la notte e un'agenzia di pompe funebri era stata incaricata da Timoteo di seppellirla nel suo paese.

I couldn't quite work out the attraction between Cruz's and Castellitto's characters as there was no gentleness in his approach at first (it was rape) but somehow he falls in love with her. Soffermiamoci poi un attimo su questo " stupro". Spunta un po' dal nulla, perché nulla (né il carattere né il passato né il presente del medico) prepara il lettore a questo evento inspiegabile e, anzi, il protagonista stesso sembra crederci poco (non una domanda, non un'analisi sull'accaduto, non un dubbio, non un rimorso… insomma, stiamo parlando di un libro in prima persona che segue il punto di vista e, di conseguenza l'introspezione, del protagonista; e, quindi, dimmi qualcosa dannazione! Hai appena commesso un atto ignobile: sei contento? Sei triste? Ti senti una m***?). as he does, he remembers a sordid love affair he had fifteen years ago-- precisely at the time his daughter was conceived. Elena Perino è Angela; la figlia di Timoteo ed Elsa. Molto legata al padre, durante la sua adolescenza ha uno scatto d'ira verso il padre che la costringe a seguire dei corsi di judo. Angela gli fa capire crudelmente che lei non è un maschio ma una femmina e Timoteo si rende conto che questo trattamento glielo aveva riservato quasi per compensare la perdita del figlio che Italia aspettava da lui. Per poi arrivare, ma da qui in avanti mi taccio perché ho deciso di prendere baracca e burattini e salutare la mia lettura, dell'aborto di Italia. Anche qui vedi sopra: tema importante su cui davvero ci si sarebbe potuto sperticare in qualunque tipo di ragionamento, e invece… solito piattume sentimentale, solite frasi fatte da cioccolatini, solite considerazioni banali (e, di conseguenza, irritanti).i won't waste time describing the final shot of the film, which presents a grotesque symbol of the hero's casting off the shadows of the past, but suffice to say it is as cheap and vulgar and ending as one could imagine. the crass pop song that accompanies it seems to hit exactly the right note so to speak. that is to say: water finds it's own level. Several critics (Mazzoni 2002, Popham 2013, Alfano 2015) have argued that the novel is at its core a religious narrative telling the story of a personal journey from a logic of violence, selfishness, and patriarchy, to love for humanity. From this perspective, rape is a symbolic gesture of access to alterity that ignites realization in Timo: “Timo[teo] embodies the progression of the patriarchal man in his relationship to the feminine,” (Alfano 39) from a violent drive to possess, to the capacity to love. Timo, described by Alfano as “the wolf turned bourgeois,” (46) is repulsed by his deep instincts of subjugation as he is repelled by Italia’s poverty and her dreary surroundings. He is also equally attracted towards this unfamiliar world and the part of himself he has not experienced. Trespassing into these unknown dimensions will eventually change him. From this perspective, rape becomes allegorical: a purificatory act of violence towards himself as well as towards an ‘other’ from which he will learn and slowly shape a more authentic relationship with himself. The two meet a la Catherine Breillat's sexually brutal films, but the trajectory of their lives becomes more conventional and tragic, as the power shifts between them. It is obvious from the beginning that Cruz (who doesn't sounds squeaky speaking in Italian as she does in Engllish) is a poster child for low self-esteem due to childhood abuse, while the doctor, with his own father issues, clearly feels more at east slumming with her than with his own wealthy doctor-as-god friends and their own failing marriages.

All of this would be ok (sort of) were not it for the fakey nature of the whole book. The protagonist is a doctor, but I never believed for a second that he was an actual doctor. Perhaps it's because I recently read Ian McEwan's excellent Saturday. In that book, the doctor protagonist throws around all kinds of medical terminology, but he actually sounds and thinks like I imagine a doctor would. The doctor in this book, on the other hand, says things like, "She's going to die, isn't she? We both know it. Her head is flooded," and, "I don't remember anything about the brain. I wouldn't be any help to you..." Are you kidding me? In other places, it's an odd mix of tossed off medical terms and Kindergardener doctor-speak. "Your pupils are anisocoric. The right one is completely dilated; the intracranial trauma is in that hemisphere. You need immediate surgery so your brain can breathe."As for myself, well, after two days I'm still re-living all the marvelous, emotionally intense moments which I enjoyed while watching this movie. Respected in his profession, married to a beautiful, cultured and understanding wife (Claudia Gerini, currently getting stateside exposure as Pontius Pilate's compassionate wife in The Passion Of The Christ), Timoteo is prey to dark dissatisfactions and wild urges which come to a head one hot summer's day when his car breaks down in a godforsaken, half-built outer suburb of Rome as he is driving down to his seaside house. Non ti muovere sono le tre parole in preghiera che gli amanti si rivolgono quando rifuggono il mondo e vogliono egoisticamente avvilupparsi tra sé, e tutto il resto fuori. Well, I don't. I can't. I can hardly breathe. And I'm not the only one in the small screening room where we are invited for a preview of Sergio Castellitto's movie, DON'T MOVE, some weeks before its official premiere in London.