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Gomorra (Matteo Garrone, 2008)
Matteo Garroneís sprawling,
ambitious Gomorra was one of the few
genuine sensations of this yearís Cannes Film Festival. Based on Roberto
Savianoís book-length expose on the toll that the systemic corruption of
Although Garrone uses light and shadow too effectively and expressively to earn the descriptor ďdocumentary-likeĒ, there is a certain Neorealist element to Gomorra. The filmís landscapes, which include hollowed out apartment complexes, massive toxic waste dumping grounds, and seedy back rooms, paint a jaundiced portrait of modern-day Italy. Itís hard to remember the last time the country looked so filthy on screen. Visually, the film would suggest something is terrible in the country, even if it failed to put a single character on screen. The people that it does choose to follow only make the situation seem more desperate still. Gomorraís cast of characters, each of them well-played by a member of the ensemble, represent the sort of people you usually only see in the background of gangster movies. The clear standout is Toni Servillo, playing a high-fashion tailor who becomes a consultant for Chinese manufacturers. He gives a genuinely moving, world-weary performance that provides the closest thing this movie has to a heart.
Gomorraís biggest problem is that itís considerably less distinctive than Garroneís last two films. Partially because itís taking on a large societal problem, and partly because itís aiming for respectability, it lacks the creepy perversity that has defined Garrone to date. Also problematic is the filmís inability to move beyond muckraking. It spends so much energy demonstrating the depth of the corruption surrounding the Italian mob, but itís difficult to know why anyone would enter the film with a different expectation of the mobís behavior. The sheer pervasiveness of corruption is eye-opening, and it justifies the narrative structure somewhat, but it seems a slight point to be making over the course of two and a half hours. Finally, that run time also takes its toll on Gomorra. Urgency builds in individual scenes, and then dissipates as the film switches between its disparate plot threads. The editing isnít bad, but it certainly doesnít enhance the stories much by tying them together. Gomorra surely seems more relevant in its home country, but to foreign eyes, it ultimately doesnít amount to much. Most of its novelty seems to lie in its refusal to glamorize its subjects.