THE STORY – After retiring from her legendary stage career, actress Eleonora Duse feels an irresistible call to return to the theater during Italy’s turbulent period between WWI and the rise of fascism.
THE CAST – Valeria Bruni Tedeschi, Fanni Wrochna, Noémie Merlant, Fausto Russo Alesi, Edoardo Sorgente, Vincenzo Nemolato & Noémie Lvovsky
THE TEAM – Pietro Marcello (Director/Writer), Letizia Russo & Guido Silei (Writers)
THE RUNNING TIME – 125 Minutes
We all know that biopics are a dime a dozen these days. It can be hard to stand out from the pack, much less make one that significantly departs from the formula and becomes more interesting than the litany of mediocre efforts that came before. There’s usually proven success from those who cover a much shorter period of time. The “cradle to grave“ scope is overdone at this point, and focusing on a condensed time frame still allows for the showcasing of important historical events, while also providing an opportunity for more concise storytelling. Even though many might not know the exact details of the life that is the subject of “Duse,“ it is still appreciated that this path was taken in an effort to dramatize parts of this person’s life. It’s an imperfect portrait, but one that is bolstered by an exceptional performance at its center.
The setting here is the close of World War I, and a new chapter is about to dawn on Italy. A new chapter is also starting for Elenora Duse (Valeria Bruni Tedeschi), a famous stage actress who has recently retired. With poor health a contributing factor in this decision, Madame Duse roams the country with her assistant Désirée (Fanni Wrochna) as she attempts to find more meaning to her life. After a near-death experience, however, her passions are re-ignited. She mounts a return to the theater, despite the protests of those in her inner circle. She gathers a troupe of performers together for a series of productions. Reviews are mixed, but there’s no denying the powerful presence she exudes. As time marches on and the country descends into the grips of fascism, Duse’s craft comes into conflict with the changing political landscapes of the country. However, she continually strives for any opportunity to express her artistry on whatever stage she can access.
Throughout every moment of this film, it’s hard not to be won over by Tedeschi’s brilliant and exceptional performance. Playing an actor gives her many opportunities to express her range, and what she showcases is an impressive display. There’s a sense of a fractured psyche constantly teetering over the edge and waiting to crack. But she never loses that endearing and fiery energy that keeps you invested in her journey. Her passionate aura is most visible in a session with a fellow actor, frustrated by the text, and she engages her in a method acting exercise to pull out the raw emotion from within. Still, there is also a profound melancholy that runs deep within her, and watching her struggle over the perilous journey back to her profession is a sad yet captivating venture to witness. Tedeschi masterfully delivers a portrayal that is both engrossing and expressive, capable of evoking humor, endearment, and tragedy all in her face. Her incredible turn is the film’s greatest aspect by far.
She’s such a force within the film that, unfortunately, the other actors don’t ever really measure up to her level. Wrochna does have her own effective moments as a woman whose emotions are tied to those of the figure she greatly admires, but the role doesn’t have nearly the same level of depth as her co-star. Much of her motivations stem from a rivalry between Duse’s neglected daughter, played by the always wonderful Noémie Merlant. However, an actress of her talents is completely wasted in a role whose emotional foundation is shallow and is mostly intended to elicit distraught looks with glassy-eyed stares. She excels at this task, but one would ask for so much more from her than this part allows.
The last few films by director Pietro Marcello have employed a unique visual aesthetic, one that utilizes cinematography to mimic a presentation that matches the older time period. “Martin Eden“ felt like a film set in the 1970s because the imagery seemed indistinguishable from the archival footage being used. It was quite a compelling signature that was unfortunately abandoned here. Perhaps it was done in an effort not to distract from the grandiose performance at the core, but the filmmaking does have a more conventional execution as a result. There are some stylish dream sequences employed, but their inclusion mostly contributes to lethargic pacing upon their arrival. A handful of sequences showcase small figurines as representing other moments, but their usage is not pervasive enough to feel completely justified. There’s an intriguing musical score that employs an anachronistic electronic soundscape that is very engaging to listen to, so much so that the occasional return to more traditional fare marks a curious inconsistency. The one thoroughly impressive craft on display is Ursula Patzak’s beautiful costumes, expressively flamboyant in their designs and gorgeously rendered.
While there may be a relatively straightforward narrative that details the life of this artist, there is a level of thematic commentary that is worthy of exploration as well. There’s a tension that exists at this time within Italy as fascist politics starts to gain traction, laying the groundwork for Mussolini’s rise to power. It’s a subject that is interrogated as Duse finds herself being invited to align herself with those powerful players. Still, it also doesn’t become an underlying commentary that could have been prodded even further. The screenplay by Marcello, Letizia Russo, and Guido Silei makes mention of art having the ability to comment on the current environment, especially when looking back at the price that war has visited upon the country. Still, it seems like some deeper analysis is evaded, which leaves the narrative with an inviting character to follow but little complexity beyond that objective.
When compared to other films by Marcello, “Duse“ comes across as less creatively ambitious than previous work. The aesthetics aren’t as meticulously detailed as previous showcases, save for a handful of craft elements, and the storytelling doesn’t take all the opportunities available for a more nuanced commentary. Still, it can’t be denied that this is still a handsome production, and all those faults would be worth enduring just to watch the remarkable performance from Tedeschi. Getting a glimpse of this figure’s tragic yet absorbing life is an enthralling venture, and it mostly succeeds because of the singular performer who holds the film together at its strongest anchor.
