No that’s not a typo: nostalgia with an h. Like Bagdad is without an h (the local move theater). I watched this on a rented DVD from Movie Madness, my 3rd in a set, along with Fun with Dick and Jane (the one with the real Jane) and Le Mans with Steve McQueen. [1]
Nostalghia is filmed in Italy, the opening credits say for RAI TV, and is in Italian. I’m acoustically very acclimated to Italian but need the subtitles to really follow along, so I had those turned on. Half the plot was about translation, and how Russian can’t really be put into Italian or vice versa, let alone English, or can it? The movie investigates the question.
The film comes as a masterful set of reframings wherein our understanding of what’s happening twists and turns, like on a dark ride at some mysterious theme park. Does he have a crush on her, or her on him? At first, the answer seems obvious but as the film starts going back and forth between black and white, and color, the first shock, we start to realize what we’d mistaken for reality, was more likely just a dream (but whose? — usually at least that much is pretty clear).
A second shock is when all those birds fly out of the statue Madonna. Who saw that coming? Not me. One epiphany after another in this film. And speaking of pregnancy and motherhood, just the night before I’d watched the new Fantastic Four (Marvel universe) at the Bagdad. Talk about a double-dose of the same archetypes! A double-whammy of mammy, hah hah.
I think the translator lady mostly freaked out over the relationship (professional) because her professional abilities were called into question. She thought she could read body language well enough to know the village crazy person was not going to submit to an interrogation. But interrogation is not what the Russian poet had in mind. He was just seeking to understand at a deeper level. He was on a quest and therefore curious.
The crazy guy had imprisoned his whole family for like seven years in a previous chapter (flashbacks), until the police finally did a wellness check and helped his family break free. Things move slowly in Italy, apparently.
The Russian poet, ostensibly researching the life of a famous composer, another one who’d committed suicide, once back home in mother Russia, after a long excursion in Italy, really seemed more drawn to the crazy guy’s story by the middle of the movie. The shift in focus came at the hot springs, near their hotel, where he caught wind of the local gossip and met the crazy guy for the first time.
The translator lady gave up on getting him an interview (her Italian was perfect, his broken), concluding the crazy guy was just too crazy and he should try it himself if he thought it possible. She resigned on the spot. He then ended up getting past the crazy guy’s defenses and they had a deep interaction (something involving a ritual candle — spoiler alert).
That blew her mind, his succeeding where she’d failed, and explains why she flipped out, and literally flipped her breast out, while giving the Russian a bloody nose — not with her breast, but with something she threw. She was pissed, that much was clear.
She made it up to him (the Russian poet) later by phoning him from Rome to say the crazy guy was holding forth downtown, with a crowd gathered. He was ranting like Fidel Castro she said. She encouraged the Russian poet to come check it out, while meanwhile reassuring him she’d overcome any romantic notions; she had a new guy (Vittorio?) to go to India with.
I won’t spoil the ending in this case. Let’s just say the Russian poet and crazy guy underwent a kind of Vulcan mind meld during the candle episode, helping answer the question of whether Russia and Italy could ever become convergent cultures. Apparently they could.
[1] thanking Fran of FranLab for opening my mind to watching a race car movie, against which I have a certain bias (ditto westerns and musicals — but we’re talking filters, not walls).