As a seasoned movie enthusiast who’s seen his fair share of coming-of-age stories set against the golden backdrop of summer, I must admit that “This Beautiful Summer” has left an indelible mark on my cinematic heart. The film, reminiscent of a long-lost Italian romance novel, unfolds like a languid stroll through the sun-kissed streets of Turin in 1938.
I’ve found that summer offers an ideal setting, and even metaphor, for stories of personal growth. Unlike the freshness of spring or the isolation of winter, summer days filled with sunlight seem perfect for exploring new horizons. The intense heat can provide a kind of freedom, encouraging self-discovery – perhaps even for the first time. Laura Luchetti’s heartwarming “This Beautiful Summer” may follow well-trodden paths in terms of personal growth, but its delightfully coy atmosphere is so irresistibly charming that you can’t help but be drawn in.
Based on Cesare Pavese’s “La bella estate,” Luchetti’s film unfolds in Turin during the summer of 1938. The narrative revolves around Ginia (portrayed by Yile Yara Vianello), a young woman who, along with her brother, has left the countryside seeking excitement. However, upon closer observation, it becomes clear that she’s been trapped in a monotonous routine that fails to fulfill her. She excels as a seamstress and pattern-maker at a downtown workshop, where her punctuality and skill consistently impress her superior. In her spare time, she predominantly spends with her brother and his circle of friends, all advocates of a conventional lifestyle. This all changes when she encounters Amelia (Deva Cassel).
As soon as the captivating young woman, Amelia, appears on screen (jumping into a lake where Ginia and her companions are relaxing), Ginia is instantly enamored. It quickly becomes evident that Cassel exudes an irresistible charm on-screen. Throughout “The Beautiful Summer,” you’re often drawn to the mesmerizing allure of Amelia, whether she’s flirtatiously asking for a cigarette, casually discussing her modeling work without clothes, or playfully pushing Ginia towards riskier actions. A friend advises Ginia, “She’s not like us.” To which Ginia responds, “I’m glad she isn’t.”
When Amelia notices something captivating in the secretive gazes that the young, fair-haired seamstress accidentally directs at her, it stirs a hidden aspect within Ginia. As Amelia draws Ginia into her bohemian artistic circle, where artists introduce her to the pleasures of absinthe and an unconventional zest for life, Ginia begins to awaken to a side of herself she was previously too timid to express. However, how much will she allow herself to be transformed before the life she’s built for herself starts to disintegrate?
In the setting of 1930s Italy (carefully recreated by set designer Giancarlo Muselli and interior designer Marco Martucci), where Mussolini’s speeches on the radio shape Ginia’s days (annoying her along the way), “The Beautiful Summer” captivates because of its subtle portrayal of a young woman’s clumsy journey to find out who she aspires to become. She envies Amelia, who appears so confident and fearless. She desires her, that much is evident. But just as frustratingly, she also wishes to be like her. Torn between these two longings, and following the guidance of each, Ginia trips up more often than she’d care to acknowledge.
In Luchetti’s poignant yet leisurely penned script, I find a lack of clear advancement in my character Ginia’s journey. My heart skips a beat whenever I’m with Amelia, a sensation amplified by Francesco Cerasi’s recurrently sparkling love theme. Yet, I’m baffled by the emotions stirring within me for this new acquaintance. In an attempt to understand myself better, I sometimes imitate her, desiring that being admired in the same way might offer me a fresh perspective. This behavior, however, leaves both Amelia and me feeling uneasy, as well as confusing my brother, friends, and the bohemian artists I seek to captivate, entice, and eventually distance myself from.
Despite the film “The Beautiful Summer” sticking to common themes of same-sex desires, coming-of-age experiences, and artistic aspirations stifled by conventional norms, it truly shines as a platform for Vianello and Cassel’s acting talents. Vianello portrays Ginia with the delicate grace of a blossoming flower, while Cassel brings an initial prickliness to Amelia. Their characters are richly layered, and they deliver compelling performances through subtle glances and silent actions. Furthermore, although its lavish production recalls old-fashioned romantic dramas, its innovative sound design, particularly during a sex scene at the artist’s studio and later during a lively dance between the two protagonists, maintains a modern, relatable feel to the movie.
Ultimately, this story carries a heartfelt charm fitting for its sunny setting. It’s both nostalgic and humorous, hot and calming. However, it truly shines as a healing remedy for those yearning for a poignant coming-of-age narrative that reflects on the past while being fortified by our vibrant current times and an audacious glimpse into tomorrow.
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2024-08-09 19:18