embracing love
by Douglas Messerli
Julius J. Epstein (screenplay, based on the
fiction by Elizabeth Spencer), Guy Green (director) Light in the Piazza /
1962
Yesterday afternoon, for the 4th time, I again
saw on the TCM television channel Guy Green’s 1962 film, Light in the Piazza,
based on the short novel by Elizabeth Spencer. One of my favorite film guides, Time
Out, described it as “a terrible film.”
Now
having seen it several times and having experienced the enlightened musical by
Craig Lucas and Adam Guttel, I’m not at all sure I’d totally agree.
Yet, like Hepburn’s Summertime one is seduced by the Italian (in this case Florence landscape), as are the characters. The young Clara Johnson, despite her stated role as a mentally challenged young girl of 26 is absolutely in love in life, ready to learn a new language (far more successfully than I might have done at that age), and to fall in love, most naturally, with an equally youthful 23-year-old (and perhaps just as mentally challenged) the young Italian, Fabrizio Naccarelli. There is absolutely no way to part them, even though both Meg Johnson and Signor Naccarelli at various junctures attempt to.
These young people, as confused, bewitched, and bewildered as all young
people in love, simply cannot keep their hands off of one another. And their
love infuses them with a power that no matter how protective either of their
families are, determines that they are destined for one another. Despite even a
devious detour to Rome, where Meg meets up with her delinquent business
husband, Noel (Barry Sullivan), who is determined to derail any future for his
daughter—and one might argue his wife—no one, not even their over-protective
parents, can stop it.
Even Meg perceives that in a loving Italian family, where her daughter
might be embedded in familial affection, ignoring her eternally young
enthusiasms, she might be protected and loved. It appears that her would-be
lover Fabrizio, moreover, is just as innocent and lost in a romantic world of
which he has no knowledge of reality. But then, isn’t that what love is truly
all about? Young
Although this film doesn’t explore it as it should, Clara’s mother Meg
is just as confused and off-kilter as her young daughter is. After all, Brazzi
has always stirred up deep emotions in unloved older women (and not so older)
that takes them to places they might never have imagined. Unfortunately, de
Havilland doesn’t quite go there. Her stirred-up emotions goes no further than
an argument with her unloving husband that it might be better to protect her
daughter by giving her hand in marriage than speaking the truth about her
mental inabilities.
Even the temporarily outraged Signor Naccarelli perceives that they are
destined to be together, she eternally young and innocent to receive the
equally innocent love of his younger son.
This is not a film about a mentally-retarded girl quickly married off to
a wealthy Italian family, but the story about all of youthful love, of how
confusing and utterly astounding love really is. No, this is not a “terrible
movie,” unless you read it quite literally. This is a film about children
finding their way through the maze of definitions, of strictures, wrong
perceptions, and labels put upon them by the equally confused adults around
them. In their love perhaps the adults might find a way to redeem their own
lives.
Los Angeles, June 3, 2019
Reprinted from World Cinema Review (June
2019).
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