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During the first twenty minutes or so of “Besieged,” directed by Bernardo Bertolucci, there is virtually no dialogue, at least nothing even remotely conversational; and yet the first half hour of the film is almost hypnotically riveting, and by that point you already know more about the two main characters than if they’d had pages worth of words to say. And it’s all done with the subtle, controlled emoting of the actors, guided by a director with a enthusiastic search for for detail, who knows exactly what he wants, how to come by it and how to exhibit it.
This emotionally racy film stars Thandie Newton as Shandurai, a young woman forced to leave South Africa for Rome after her husband, a school teacher, is arrested by the Military Police, then summarily held in prison– and without a trial– indefinitely (His crime is never precisely indicated, though it is implied during a classroom scene at the very beginning of the film) . In Rome, Shandurai attends medical school, while supporting herself by working as a housekeeper for a man named Mr. Kinsky (David Thewlis), a reclusive pianist, apparently fairly well-to-do, who gives piano lessons to children in his home.
Early on in the film it is evident that Mr. Kinsky looks upon Shandurai as something more than merely a housekeeper; he is obviously quite taken with her. The right implications of the area are readily apparent, of course, as is the location in which it will predictably plot Shandurai at some point in the arrive future. There is small doubt as to the direction the tale is taking; the inquire of that remains, however, is how Shandurai will deal with her impending problem.
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The epic becomes even more sharp as matters are pressed and circumstances originate which do Shandurai’s conundrum even more of a honest miasma. Bertolucci draws his audience in by creating a residence so emotionally complex that at times it fairly resonates on the hide. And rather than allowing it to become simply a test of esteem and loyalty, he takes it powerful deeper– so that the dependable impact of the film stems from the respective stances taken by Shandurai and Mr. Kinsky, as they strive to determine their personal feelings while attempting to satisfactorily breach this seemingly insurmountable residence. Bertolucci draws a fair line on which he balances the emotions, actions and reactions of his characters, which pays off handsomely in the demolish.
The overall success of the film, however, is predicated upon on thing– that being the performances of Newton and Thewlis; and both verbalize, unequivocally. Newton’s role is especially keen, as she has to grunt so remarkable through her emotions alone. Her gestures, expressions and mannerisms are her words; and the slightest alteration of any of these– the slightest arch of an eyebrow, a shifting of the eyes at a particular moment or a barely discernible movement of her lips– speaks volumes. And for this to be effective, it had to reach from a status deep within; mere surface theatrics or any hint of pretentiousness at any time would have dispelled the believability of the character at once– and Newton not only prevails, but does so overwhelmingly. It’s an extremely well realized portrayal of a woman in conflict, facing one of the greatest trials of her life.
Thewlis, as well, gives a resoundingly sympathetic performance as Mr. Kinsky, that would have to be ranked among the best work he’s ever done. As with Newton’s role, he must jabber so powerful physically, and he does– turning in a very sensitive, well defined performance through which he employs unbiased the moral amount of reserve and restraint as befits the character he is creating. It’s an affecting, unbiased portrayal that makes Mr. Kinsky very trusty and believable.
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The supporting cast includes Claudio Santamaria, John C. Ojwang, Massimo De Rossi, Cyril Nri, Paul Osul and Veronica Lazar. Artistically rendered and subtle in nuance, “Besieged” explores the parameters of adore and measures the limits of the boundaries expressed by the heart. An insightful treatise on human nature, it removes one emotional layer after another, just up to the very end– which is a moment of truth nothing less than sublime. And one that will preserve this film in your memory long after the veil has gone shadowy.
Music is the center of Thewlis’ world and it is the center of the movie. You’ll luxuriate in your sound system during this film because it is made up of music rather than dialogue or dazzling visuals. Although Thandie Newton is certainly a heavenly visual.This movie stands out because it is so absolutely like no other, not even Bertolucci’s previous efforts prepare you for it. Thewlis(you might remember from Naked) plays the decadent westerner(all Bertolucci lead roles are that) we are asked to pay attention to. Thewlis does not inquire of you pay attention like Brando does rather he is so peaceful and mysterious you can’t befriend but pay attention. Only when he plays piano do you glean out how noteworthy is going on within him. And what music(the piano is the third major presence in this movie) . Thewliss and Newton approach from different sides of the world and neither is perhaps very jubilant with the situation from whence they reach, both exiles, and each is very interesting about the other. Many times the camera is on one at a time while each wonders about the other in the next room. It doesn’t sound like considerable but it is drama of a very irregular sort. Two humans,two cultures perhaps, slowly coming into contact. Very unusual and very mighty movie. You may as well order the soundtrack too.
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