Quirky story about a woman's search for meaning following a failed marriage. Not much depth or character development, but the scenes in Tuscany are captivating. Rather an annoying treatment of the tiresome, typically American sexual shallowness: fall for the guy with the schmoozy line, jump in bed for hot torrid sex on the very first day out, confuse such athletics with a serious commitment to a relationship, and then pine away endlessly when, of course, he loses interest. She never learns anything about what makes serious relationships work, and even though her fairy-tale notions of romance backfire, repeatedly for her, continues to cling to the naive notion that `love will conquer all.' Indeed, the story `promotes' that point of view, excessively, while trivializing a more sober reflection.
For example, there is a sub-plot involving the daughter of a local gentleman, who falls in love with an immigrant young laborer from Poland, who has nothing to offer but his youthful passion and his hopes and dreams, but the lead character champions their desires against the better advise of the father. The father tries wisely but in vain to argue that the passions of youth tend to fade, all too quickly, after which there must be more than that on which to build a lasting relationship. But although no words could be more meaningful, he is dismissed as an old fuddy-duddy, out of touch with the greater truth of `laaahve.'
This is a film which makes it seem as though fairy-tale notions of human relationships were ultimately desirable, even if they never seem to work out as imagined. It offers no insights into what actions or reasoning processes might result in more healthy relationships. Rather, it promotes the view that repeating the mistakes of the past often enough is the best way to find success. However, being committed to the same point of view, while expecting different results, stands almost as the definition of insanity. Pretending that it isn't so by calling it `romance' changes nothing.
For example, there is a sub-plot involving the daughter of a local gentleman, who falls in love with an immigrant young laborer from Poland, who has nothing to offer but his youthful passion and his hopes and dreams, but the lead character champions their desires against the better advise of the father. The father tries wisely but in vain to argue that the passions of youth tend to fade, all too quickly, after which there must be more than that on which to build a lasting relationship. But although no words could be more meaningful, he is dismissed as an old fuddy-duddy, out of touch with the greater truth of `laaahve.'
This is a film which makes it seem as though fairy-tale notions of human relationships were ultimately desirable, even if they never seem to work out as imagined. It offers no insights into what actions or reasoning processes might result in more healthy relationships. Rather, it promotes the view that repeating the mistakes of the past often enough is the best way to find success. However, being committed to the same point of view, while expecting different results, stands almost as the definition of insanity. Pretending that it isn't so by calling it `romance' changes nothing.