Review of This Must Be the Place

Sorrentino suggests a complex history, probably too much to be treated as raw material in the manner of the comic Tarantino. It 'a problem of linguistic register that plagues the film, which does not form differs little from the content. Missing, as it did of the previous films, the inseparable link between the images and the underlying meaning of the story is the poetry. Sorrentino is a master in the representation of existential emptiness, inability to communicate, the discomfort of contemporary living in a global society and devitalized, which also he made but where is not found, indeed, to be exact, where he feels inadequate. The shots are always essential, therefore, made of geometric architecture and empty, and almost metaphysical hyper-realist, then here is the succession of supermarkets, shopping malls, escalators, a futuristic flying bridge over the heads of men and houses. This explains the predilection sites for aseptic and soulless as the 'Switzerland colorless in "The consequence of love", the repulsive fascist architecture of Latin America in "The Family Friend", the insignificant reality in the province of Ascoli novel "They are all right," the chilling anonymous motels inland U.S. and so on. Even the protagonist of "This Must Be The Place" moves in similar places, so much so that Ireland and the United States does not have a recognizable identity: the sites of action does not belong to any particular place, and the mall , as well as the country overwhelmed by highway interchanges and overpasses, could be either in any suburb in the world. The rock stars of the film is called Cheyenne, but in reality is Robert Smith, the leader of the Cure although Sorrentino uses the character as a figure of the collective imagination and adapts it to his purposes in making the protagonist of an adventure as any hero comics. Certainly, the director may have been attracted by the figure of Smith for the close relationship with some of these films as David Lynch's "Twin Peaks" and "Muholland Drive" which prefigured the dark scene. Cheyenne leads an empty life, on the brink of despair, made darker by guilt, symbolized by the trolley that accompanies any of its activities, was to do the grocery shopping, or more properly to travel. When you meet the inventor of the trolley, you will also find the right clue leads him to seek out the hiding place of his father's Nazi torturer and the film draws to its conclusion. During the confession of the German shows that even this man pulls his weight, his sense of guilt to be expiated. The story then acquires a universal, with biblical references also about the human condition: each pulls its weight, everyone is on the brink of the precipice and we must persevere in the search for salvation, and atone for his guilt. Only then will the catharsis can take place and start the regeneration. It 'obvious that requires a lot of meat to cook sublime skill to be properly represented without running the risk of slipping and falling into banality. Sorrentino does his best, but in the end is a certain feeling of coldness and cleavage. However, only three minutes on the scene in which David Byrne makes imperative the movie.