Youth (2015) Review

Lucas Versantvoort / 2 Nov 2015

Director Sorrentino has become somewhat of a household name since Il Grande Belezza. Now, two years later, his new film, Youth graces theatre screens everywhere. As the title suggests, it deals with 'youth', though wasted youth is the better term. All the action takes place in and around a luxury resort in the Swiss Alps, as we see two old men coming to grips with their pasts and desires. 

Composer Fred Ballinger (Michael Caine) and Mick Boyle (Harvey Keitel) are spending their holiday--as always--in this resort. They are not the only residents: Ballinger's daughter and assistant Lena (Rachel Weisz); actor Jimmy Tree, who in Birdman-esque fashion is only remembered for one mediocre role; a couple that never communicates; a young boy who loves Ballinger's violin pieces, etc. They're also told Miss Universe will be arriving soon. 

The acting is one of the reasons the film maintains some semblance of momentum. Rachel Weisz and Jane Fonda particularly shine in their short but intense scenes. Michael Caine is also quite good, though I always watch him with a certain emotional distance. Nevertheless, he is very good in the scene where he explains to the Queen's ambassador why he won't conduct his Simple Songs. 

The film is obviously about coming to grips with the past and any regrets you may have. Sorrentino deliberately paces the film quite slowly to portray the boredom and routine of the resort, how these people are basically sitting around with only their memories keeping them company. We get variations on these themes: Caine's relationship with his daughter, Keitel's relationship with his son and his desire to make a new film, Dano's fear he'll forever be remembered for something insignificant, a role in which the audience couldn't even see his face (aka who he really is). Sorrentino alternates slow-moving scenes with emotional outbursts, such as the short scene with Jane Fonda and Rachel Weisz's monologue. Because these outbursts are framed by slow-paced scenes, the emotional impact is increased. On the other hand, the stylized nature can slow things down to a crawl. Some of the dialogue can also be as subtle as a brick to the face. When the Dano character completes his character development, he utters the following: "I have to choose, I have to choose what is really worth telling: horror or desire? And I choose desire. You, each one of you, you open my eyes, you made me see that I should not be wasting my time on the senseless fear..." This couldn't be more devoid of subtext had Michael Bay written it.

My feelings on the matter can be summed up by watching the final scene. I won't say what happens exactly, but there's an opera singer performing. She has a wonderful voice, but occasionally employs these hand gestures for added emotional effect, yet it just comes across as mannered. That's this film in a nutshell: there's plenty of content, but the film's stylized nature and deliberately plodding pace tend to undermine the emotional impact. It could've burst to the surface a bit more often.