Don't Move review

A torrid tale of passion under the Italian sun, Don't Move is the kind of film that, were it made in England, would probably raise a few eyebrows thanks to some of its more controversial moments. Its depiction of the middle-aged male psyche in distress is full of Italian machismo, with a plot that veers into melodrama and ultimately leaves a less than satisfying taste.

Directed by and starring Sergio Castellitto, and based on a novel written by his wife Margaret Mazzantini, the film centres on Timoteo (Castellitto), a respected surgeon who enjoys all the comforts of his profession as well as having a beautiful wife and teenage daughter doting on him at home. But Timoteo's life takes an unexpected turn when a traffic accident victim arrives at his hospital and turns out to be his daughter. It's an interesting premise - the doctor forced to confront his own family's mortality - and forces Timoteo to reconcile the events that have led to this moment.

The bulk of the film is taken up by extended flashbacks which portray the double life that the good doctor has been leading for a number of years. After his car breaks down one day in the distant past, Timoteo relies on the kindness of strangers to help him, notably the feisty and single Italia (Penelope Cruz), an impoverished hotel worker who lives in the middle of a building site. As he waits for his car, Timoteo slowly becomes drunk, rapes Italia, and flees.

Although the script never explicitly reveals why, Timoteo returns to the scene of the crime and finds a suppliant Italia waiting for him. An unlikely relationship begins, initially based on sex, but as the years go by emotions become involved, and Timoteo begins to take Italia on conferences with him. Meanwhile his wife has their first child - an event that will have tremendous repercussions for the two secret lovers.

Returning to Europe as her career in Hollywood begins to flag, Cruz gives her all to a character that is best described as a wretch, and is presumably the reason that the film is receiving international distribution. With her unruly hair, a set of preposterous false teeth and a gaudy wardrobe she is as far removed from her usual siren role as it is possible to be. Too far, arguably.

Resolutely serious in tone, the success of the film depends entirely on whether the central relationship is plausible. Many may find that it is and become gripped by the spiraling series of events. However, it's likely to prove a step too far for others who may become impatient at the slow speed of the feature, which more often than not drags along at a funereal pace.

Paul Hurley