Feature Review | Swept Away
Written by: Brian Orndorf

Let’s face it, people, she’s an astounding musical artist. There aren’t enough positive words in all the world’s languages to express how superior her last album, “Music,” was. Heck, I’m sure she’s even a great mother too. But Madonna cannot act. She’s had all the chances a person should expect from Hollywood, and worked with some top talent as well. Yet, when it’s all said and done, there is no magic when she opens her mouth, no passion in her body language, and no skill in her drama.

Amber (Madonna) is a bored, married, thoroughly rich socialite who has just arrived for her Mediterranean vacation aboard a boat inhabited by Italian workers. One man in particular, Giuseppe (Adriano Giannini), has all the right moves to drive Amber crazy with rage, and she handles that anger by humiliating and berating Giuseppe at every turn. When a leisurely trip out on the sea turns ugly, the two opposites find themselves stranded on a deserted island, with only themselves to rely on for food and shelter. On the island, the rules change, and Giuseppe demands that Amber treat him with respect, even going so far as to beat this sense into her. And while Amber slowly succumbs to Giuseppe’s powers, she finds herself changed by him, and even possibly in love with him.

The new “Swept Away” is a remake of the notorious 1974 Lina Wertmueller original that shook the foundations of cinema with its audacity and explorations of communism vs. capitalism. It was a masterstroke in its day, and serves now a time capsule for another, more explosive era of filmmaking. Why director Guy Ritchie (“Snatch”) felt the need to remake this film isn‘t quite clear. Times have changed, and so have political climates. Ritchie tries to supplant the political overtones of the ‘74 version here with ecological and monetary discussions, and the strain of this attempt shows. Take away the subtext, and you have “The Blue Lagoon,” but give the subtext that’s there no life, and you have a film with no pulse. Ritchie is an extraordinary visual stylist, and as seen in the gleaming “Snatch,” he is someone who knows a thing or two about star power. “Swept Away” is an uphill battle that Ritchie isn’t prepared for, and doesn’t seem particularly convinced he’ll win. And why did have to cast his real-life wife in the lead?

Madonna takes the outer fringes of the Amber character and runs with it. She plays the shrill, corrosive aspects as character truths, and forgets to fill in the rest with the mercy that Amber needs to be believable. The whole change Madonna’s Amber makes from hate to love is jarring, and that’s with Ritchie’s help, as he fills Amber and Giuseppe’s scenes with a terrifying playfulness that could seem an understandable lead-in to love, had this been another actress. Madonna certainly looks great (she seems to be in various stages of undress throughout the entire picture), and in a film-halting fantasy sequence (which has Amber lip-synching “Come On A My House,” complete with a Versace dress and backing orchestra), the Madonna that we know and loves comes surging out, leaving Amber behind. There’s also the lack of chemistry between Madonna and Giannini to contend with as well. Try as she might, this acting profession just isn’t Madonna’s forte, and frankly, I’m getting sick and tired of her attempts to prove otherwise.

Adriano Giannini manages much better than Madonna, maybe because “Swept Away” was in his blood to begin with. Giannini’s father, actor Giancarlo Giannini, played the exact same role in the ’74 version of this film. Reportedly cast without prior knowledge of this connection, Adriano Giannini soars above his costar just by falling back on his genuine charm and abilities. He has a much easier time getting under the skin of Giuseppe, and his character’s transformation from submissive servant to king of the castle is the only one I could swallow from this film. It’s the picture’s best performance, and in the end, its greatest asset.

After the second act on the island comes to a close, Ritchie switches gears, and tries to form a searing tragic romance out of his clay. And I hate to say it doesn’t work. Without the necessary actors to bring these challenging roles to life, you simply can’t find a payoff in the last 15 minutes for an earlier 75 that haven’t been the least bit encouraging. Ritchie and Giannini will survive this, no doubt. But here’s to hoping Madonna will just simply stay on that island forever.

Grade: 4 out of 10     

COMMENTS
Date/Time of Posting:  Oct 12 2002 / 23:13:11
IP Address:  198.81.26.170
name = Mike
Email = Retour@aol.com
comments = I say that Madonna can't act or sing!

Date/Time of Posting:  Oct 17 2002 / 12:36:57
IP Address:  216.66.156.36
name = Brent
Email = brentducharme@hotmail.com
comments = Madonna's private, yet very public, life has probably hurt her most. Here is a woman who, while on top, insulted anyone and everyone she could think of. Now, she would have us believe she is a born again good mother and wife. Oh really? Sorry, but when we see you on the big screen, we see that woman who liked to alienate everyone. We don't see the character you are miserably trying to portray.