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激情˙別動 Don't Move
意大利電影金像獎影帝 - 沙治奧卡斯迪里圖
意大利電影金像獎影后 - 彭妮露古絲
女兒遭車禍受重傷，性命危在旦夕；身為父親的醫生忐忑不安，窗外的大雨令他想起生命中另一個遺憾。多年前他不惜背著妻子，與一個潦倒女子展開一段不倫孽戀，從強姦演變為肉體交易，再演變為真心相愛。兩個為情所困的心受苦受難，即使男方將家庭、事業豁然押上，仍未能承受生命中的痛。兩位主角雙雙奪取意大利金像獎影帝影后殊榮，連同歐洲電影大將，合共獲得十三項提名，被譽為該國近年罕見的傑作。
電影《激情˙別動》根據同名暢銷小說改編，單在意大利已創下九十萬本銷售紀錄，並翻譯及發行至十八個國家。作者Margaret Mazzantini是導演的妻子，她亦有協助丈夫撰寫電影劇本。
導演兼演員
沙治奧卡斯迪里圖 (Sergio Castellitto)
現年51歲年出生於意大利羅馬市，1982年開始其演員生涯，先後參演了多部歐洲重要電影，包括《美味關係》、《母親的微笑》等等，多次贏得歐洲各大影展的影帝殊榮。1999年的《Libero Burro》開拓了其演藝生涯新一頁，沙治奧卡斯迪里圖「演而優則導」，兼任片中編劇及演員。在最新作品《激情˙別動》中，沙治奧卡斯迪里圖延續了自編自導自演的本色，在意大利電影金像獎獲十一項提名，亦是2004年康城影展其中一齣備受矚目的話題電影。
演員
彭妮露古絲 (Penelope Cruz)
1974年出生於西班牙馬德利市，自小便醉心舞蹈，曾在西班牙國家藝術學院學習芭蕾舞達九年之久，稍後被電視台賞識，邀請拍攝多齣連續劇。1992年進軍大銀幕，先後拍攝《連鎖蝶變》、《論盡我阿媽》、《魂離情外天》、《鬼兆》等賣座電影，被荷里活視為西班牙的性感尤物。
導演的話
這是一個關於贖罪的故事﹕一個男人在夜雨中向一個女人懺悔的故事。
每天晚上，我的妻子都會拿數頁稿子給我讀。我看了又看，不知不覺地跟隨著書中主角的步伐，經歷了生命的變幻無常，沉淪在愛慾中不能自拔。故事以三個人物為主﹕一個可憐的女人、一個孤獨的男人、以及一個昏迷的少女。他們飽歴人生的高低起跌，相對地，我感受到自己被一股淡淡的哀愁圍繞著；那是作為一個男人和一個父親的唏噓。
故事的形象十分鮮明。當我讀小說的時候，心裡自自然然就浮現出影像來；再看下去，心裡便有「要把這個拍成電影」的衝動。拍製電影的目標不在於把故事說出來，而是尋找一點點的共鳴。拍攝的時候我不斷問自己﹕我們可以將人性劃分為好與壞嗎？
我想透過電影表達出生命的足跡，或許自己的年紀不輕了，所以沒有絲毫尷尬。有好些事情對人生很重要，我們需要和這些事情和諧共存。這便是《激情˙別動》的主題。
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| 發行 ： | Golden Scene Company Limited | |
| 上映日期 ： | Nov 18, 2004 | |
| 院線 ： | 待定 | |
| 級別 ： | 待定 | |
| 片長 ： | 125分鐘 | |
| 語言 ： | 意大利語 (中文字幕) | |
| 網址 ： | http://www.goldenscene.coｍ |
Don't Move
SYNOPSIS
A rainy day. A car fails to stop at a red light. A fifteen-year old girl brakes, skids, and is thrown off her scooter. The ambulance races towards the hospital. The same hospital where the girl's father works as a surgeon. Timoteo waits as his colleague performs surgery on his daughter. The terror of this extreme event causes him to cast aside his mask of steadfastness, cynicism, model father and husband, revealing an estranged and violent self. In an attempt to fill the silence of coma with words, death with life, he conducts an imaginary conversation with his daughter in which he reveals a painful secret. The seemingly squalid story of a powerful and visceral extra-marital love affair.
What emerges is a scorching summer of many years earlier, a squalid urban suburb, a downtrodden, destitute woman with a high-sounding name - Italia.
Don't Move
About the film
How much time have I spent thinking about this film? A great deal, a very great deal. Some evenings, my wife Margaret would give me a few pages to read. I read them, I followed her character's steps through the book, as he sinks into an abyss of love, cowardice, and pity, and I was moved. By the poor, mistreated woman, by the well-to-do, solitary man, by the comatose young daughter. As I read of their vicissitudes, I was filled with pity for myself, as a man and as a father. And what shone forth most clearly in the story was the misery of the human condition, the labor of living life. And the poetry. That hint of the sublime and the ridiculous that makes life splendid.
There was that vivid, visionary writing. As I read, I saw the story. As I read, I filmed the story.
I wondered whether I'd succeed, not just in telling the novel's story, but also in filling it with the same moral density. Could I film the thin line that divides good from evil, justice from iniquity? Could I film the overpowering of a woman without adding outrage? Could I film a man's criminal selfishness without condemning him?
I like to show the closed fist of life, the few things that really matter. Maybe it's my age - I'm no longer a young man - but I've stopped feeling embarrassed. I need to tell stories about the humble, offensive, necessary things that serve life, that allow us to live it with decency.
I searched for locations and actors like a blind man, groping in the darkness, sniffing for a good scent, a good wind.
I needed a suburb, and I found a ghost city; I needed an enchantress, and Penelope arrived. I needed heat, and I waited for summer.
I arrived on the set like every director, tired of imagining. Tired of notes and storyboards. I said, Action, and I watched what I'd dreamed, what I'd already seen countless times with my eyes closed. It was different - it's always different - but it was good like that. It wasn't easy to be both director and actor: the Kleenex around my shirt collar bothered me. For the rest, I must say that the story both destroyed me and guided me. I shouted, I trembled, I smoked like a fiend. And I was afraid of dying before I finished the film. And it was only when they poured champagne on me after the last take that I killed the fear I had of this movie, this touching story, this truth. Editing it was a delight: it was a question of removing the peel and squeezing out the juice.
I have to thank everyone, from the producers to the stagehands, for the special feeling - like premature nostalgia - that they put into this segment of life we've passed through together.
Sergio Castellitto
Don't Move
The film as seen by Margaret Mazzantini
This is a film about pity and love: the illicit, tender love of two forlorn people afloat in a blue city, each floundering in the other's breath like fish in a net. She's a lamb lost in a downpour; he's the wolf searching for her. Not to eat her, but to fall at her feet.
It's the story of a man who asks women to forgive him in the rain.
There's a surgeon who wears a green scrub suit and rubber gloves so he can plunge into life without soiling his own living flesh. There's a bourgeois wife, beautiful and implacable. There's a modern daughter, who listens to music while riding around on a motor scooter with her helmet strap hanging loose….and there's rain, and urban birdshit, and the slippery muck that makes wheels skid. And there's our life - so stingy, so stagnant, suddenly compromised, uncovered.
For the rest, there's a pallid hospital corridor, and a pallid man against a wall.
The music of an old song returns, a song of younger days, when he loved and killed by mistake. When he wept at night and ran in the sun and looked for the empty hole of his true self.
And a little woman returns, with a name as big as a country: Italia.
A woman as beautiful as her ugliness, as her truth. A woman who smells like a sacrifice. And the world is drenched in love. A dog passes, a river passes, and a child who has found no home on earth passes, too.
It's still raining. The rich, wretched man kneels at the feet of the poor queen. "You'll never forgive me, will you?"
"God won't forgive us."
"God doesn't exist!"
"Let's hope so, my love. Let's hope so."
They stay suspended like that, waiting for mercy. They leave Rome like two people on a Sunday excursion, heading for a southern town, skirting a mountain transfixed by a cross.
Then time passes, the summer passes, years of seasons pass. Leaves lie in heaps under the plane trees that line the streets. The rains return. Only love remains, together with the leaves and the scraps of paper lifted by the wind.
Love like a spore that migrates and grows fertile.
This is a film that leaves us famished with nostalgia for what we really need. It's a symbolic film that casts no spells, yet confers magical powers on things just by descending into that hollow place where our absences lurk - our innermost yearnings, our secret desires.
Margaret Mazzantini
Don't Move
Production Notes
After seeing Sergio Castellitto's Libero Burro here at Cattleya we were all convinced that he had the "sure" touch of a born Director. Despite the modest success of this first film, his creative imagination and juxtaposition of symbolic images, his intuitive camera movements, his ability to guide the actors, were all unmistakeably present. It was clear that this was no one-off flirtation with cinema. Sergio (like Michele Placido) had a true vocation. We signed a contract with him for a film and began to look for a story. Things moved slowly, between his many acting commitments and our own projects.
I have always been a great admirer of Margaret Mazzantini. Even since I read Il Catino di zinco, saw her act and met her in person. It always seemed to me that her talent and intelligence had a mysterious quality. We heard that she was writing a book (we didn't know then on what) and my instinct told me that we would buy the film rights.
The rest happened as a matter of course. Sergio wrote the script "in solitary confinement" and with the minimum of "back-up" from us, succeeding in winning over everyone who read it. Even Penelope Cruz, who fell in love with the story and was determined to play a part in the movie. She in turn won all of us over, Sergio especially, who saw in her the Italia he had been looking for.
The film is distributed by Medusa, who also co-financed it. Medusa continues to play a courageous and critical role in re-launching Italian cinema. We all hope that its well-deserved success will confirm this direction.
Non ti muovere is also a co-production with Alquimia Cinema in Spain, with whom we have already worked on I'm Not Scared. Italy and Spain are the most active European countries in the film industry today. The film's English co-producer is The Producers Films.
The budget was 6.0 million euro. International sales are being looked after by the English company Capitol Films (I'm Not Scared), who have already sold the rights in Japan, France (Europacorp) and Latin America.
The film was released in Italy on March 12th and has grossed so far over 8 million euros: one of this year's most important successes and a further confirmation of the favourable moment that Italian's cinema is currently experiencing.
Riccardo Tozzi
Don't Move
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