Bread and Tulips (2000)

An Oscar BEST FOREIGN LANGUAGE FILM nominee, 9 times David di Donatello Awards winner, an exceptional case of home run. Silvio Soldini's overwhelmingly heartfelt crowd-pleaser is about an Italian woman's awakening realisation of the prospect that she might reap a new romance and start a new life in her middle-age, plus, it is in Venice!Rosalba (Maglietta) is an average middle-class housewife from Pescara, only she is all fingers and thumbs in some measure, during a group trip with her family, her clumsiness incidentally results in her being left alone in a highway café, clearly her husband Mimmo (Catania) and their two sons take no notice of her absence in the first place. Later after being scolded by an exasperated Mimmo and commanded to wait in situ for the bus to return and pick her up, a disgruntled Rosalba decides to hitchhike back to home instead of continuing the trip, and en route to Pescara, realising that she has never been to Venice, she makes an impulsive decision to visit Venice, which will change her life forever, and for the better!A planned overnight stay expectedly extends into a prolonged sojourn, Rosalba finds a job as a helper for the local florist Fermo (Andreasi), and camps out in the apartment of a recluse Fernando (Ganz), an Icelandic waiter she meets in the restaurant. Unbeknown to her, a reticent Fernando is actually planning a suicide when Rosalba effects an entrance into his miserable life, later it will reveal that he is taking care of his grandson and the latter's mother Adele (Lepore), whom his son deserted long time ago.While Rosalba luxuriates in her adventure in Venice, at home, a fuming Mimmo is desperate to know her whereabouts (although their two adolescent sons are quite easy with their mother's unusual vacation), he hires an inept and overweight plumber Costantino (Battiston) who is applying for a job in his company, as a private detective to look for Rosalba in Venice. Little had he known, unexpected fondness will be God's divine design, spontaneously germinate between Costantino and Grazia (Massironi), a masseuse living next door to Fernando and Rosalba's new best friend, who is so down on her luck in relationships and also in critical need of a plumber in her life.Of course, a nagging guilty conscience of shirking from her duty both as a wife and a mother has been duly interrupts Rosalba's otherwise perfect holiday in Venice by the mechanics of her own imaginations, but Soldini renders the intrusions with such a light and comedic touch, Rosalba will practically become accustomed to it in no time. As plain as day, Mimmo is not a qualified husband for her, he can no longer appreciate her earthy beauty and their communication has been shut down for too long. So what the exotic Fernando brings to her life is something more wholesome, more sincere, and vice versa, she picks up her childhood hobby, the accordion, and he brings her to dancehall, together, they celebrate his grandson's birthday in the Floating City, what's more one can hanker for? Finally, albeit a predictable due date of her getaway, a new page of her life has already been turned, at any rate, a lady must have a little patience to wait for her Prince Charming to take his action.Unbridled from the traditional view of family and responsibility, BREAD AND TULIPS is an encouraging but fantasised fable can hit hard to those who are bogged down in their middle-life crises, and aspiring to breathe some fresh air, even just for two hours, on top of that, it doesn't reek of cheesiness and schmaltz when you replay it in mind after the show, mostly by virtue of a genial Licia Maglietta in her unsentimental and non-dramatic representation of a character could easily go overboard with all the quixotic bells and whistles around her.

If you're not prepared to loosen up, relax and surrender to Charm, Delight, Joy, Romance then you'd best give this one a miss. On the surface if's easy to drive a truck through the premise - second chance, finding happiness in middle age - and the treatment; why, for example, set a film in Venice and then virtually ignore the 'tourist' Venice for the Venice of campi and washing lines; a film in which all the main cast are oddballs (plumber-private eye, anyone) yet just this side of totally risible. There used to be in the theatre a cliché that certain shows were designed/tailored for the 'tired businessman' and if we can extend the genre to film then this is a prime example, designed for those tired of sex-and-violence, special effects, cgi, all those formulaic Police Academies, Nightmares On Elm Street, Chainsaw Massacres, Halloweens, American Pies etc. This is in the tradition of Marty, Come September, Summer Madness, where we are offered Real, Warm, people to care about/identify with, root for. A truly lovely film.

It is a quaint, dreamy theme. A woman strays from a tourist group to finally find herself moving to Venice. For once she wants to do what she wants to. Her past life is marked by a stereotypical role of being a wife and mother which to some extent is thankless. Her new life in Venice takes her away from a predictable mundane existence to that of a life of youth, vitality, adventure and love. She after years feels loved. Though she gets back to her family but never connects to them again.It is time to move back to Venice with her true love.... For once a movie does not expect a woman to be a mother and wife but expects her to be what she wants to be.

This is a wry, witty Italian comedy with a underlying radical message I don't think the Vatican would approve. Licia Malietta stars as Rosalba Barletta a woman not enamored with either her macho, inconsiderate husband Mimmo Barletta (Antonio Catania) or her life as a housewife. On a vacation she is accidentally left behind in Venice, and then on a whim decides to stay for awhile. She needs to breathe free from the domination of her husband who sees her only as an asset and doesn't love her. Indeed he has a mistress.What she finds in Venice are new warm friends and a certain man, Fernando Girasoli (played with sly finesse by veteran Swiss-born actor Bruno Ganz), who speaks in poetic phrases but wants to hang himself. She also rediscovers a delight in life and the freedom to be herself and do what she wants to do, which includes playing the accordion and reading Mark Twain in bed. She finds a job in a flower shop, a small room, makes friends with the masseuse next door and feels alive for the first time in ages.Her husband sends a plumber he is about to hire to play detective, find her and bring her back, resulting in some light comedic episodes enriched by off-beat characters.Malietta is very winning in the part and certainly will serve as a heroine for frustrated housewives everywhere. Her desire is not for a fling or for physical thrills, rather her desire is to find herself as herself apart from her identification as wife and mother.I have hinted above at her eventual choice, but you will have to see this warm-hearted romantic comedy for yourself to find out what she chooses and why.(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)