Brilliant and touching

Admirable film.

Blistering performances.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Kirsten Scott-Thomas is electrifying, sensual and beautiful, albeit against an unspontaneous and wooden Sean Penn, whose character, and thus the relationship with Scott-Thomas, were unduly constricted by the novella that inspired the movie. Were this not the case, a magnificent film might have emerged.Overcoming the shortcomings are the dialogue, exceptional casting (Anne Bancoft is terrific and Massimo Ghini is machismo, charming and threatening -- think James Mason), Firenze, and inspiring photography and costuming, all embraced by a charming and captivating story.If you find Scott-Thomas to be an English Grace Kelly, and love the pre-WWII period in Italy, this unappreciated jewel is a feast.

Returning to a rather Tepid Film and re-discovering Kristin Scott Thomas, September 23, 2011 By Grady Harp (Los Angeles, CA United States) - See all my reviews (TOP 10 REVIEWER) (VINE VOICE) (REAL NAME) This review is from: Up at the Villa (DVD) UP AT THE VILLA received a rather lukewarm acceptance at the box office when it appeared in 2000. One of the advantages f DVD and of On Demand television viewing schedules is that we are offered a second, less than prejudiced look at a film that holds up rather well with age. W. Somerset Maugham's story is adapted for the screen by Belinda Haas and directed by Philip Hass and t proves to be a rather credible tale of the British and American outlooks on love and life all in the setting of pre-WW II Italy. There are flaws in the film, but it is the opportunity to see the radiant Kristin Scott Thomas deliver a role with such understated and quiet dignity (she now is playing in French films as well) that makes the re-visit worthwhile.Mary (Scott Thomas) is a penniless well bred woman who has a brief assignation with an Austrian immigrant Karl Richter (Jeremy Davies) that ends in a tragic death. At present Mary is living in a villa in Florence, Italy, the intended of the wealthy Sir Edgar Swift (James Fox) who despite being older than Mary and less ardent in his association with her (he is close to being assigned the Governor of Bengal), offers her a future of ease and means. Mary is counseled by Princess San Ferdinando (Anne Bancroft) to proceed with the planned marriage, but Mary meets American playboy Rowley Flint (Sean Penn) and begins to challenge her own concepts of the forces of physical attraction and independence against those of promised luxury. A bit of intrigue enters to muddy the waters, and all characters become involved in an Italian scandal that represents the tenor of the times: Mary has the good fortune to discover some documents that not only free her from accusations but brings down the Italian officials as well. If this all sounds a bit confusing then it should be noted that the story (and film) are more about human actions under pressure of circumstances, about relationships, flights of fancy, slip-ups, weaknesses, trust and emotional maneuvering than a simple straightforward Italian/British/American tale.The cast is varied - Bancroft gives one of her signature performances, Sean Penn seems out of his element - but the beauty and skill of Kristin Scott Thomas make the film worth savoring. Grady Harp

"You're never a great man, when you have more mind than heart." E.P. Beauchene In a nutshell, Mary, (Kristin Scott Thomas), a distractingly beautiful English widow has more heart than mind in this period piece. A noble thing to have, unless your naivety of heart gets you into places you never dreamed your heart would lead you.This excellent period piece takes place in fascist Italy. A group of English aristocrats worlds intertwine, with a twist. Kristin Scott Thomas' charmingly elegant character sparks life so intriguing, you'll find yourself leaning toward the tube.Many reviewers peg this as a tale of "lust". I disagree. I find no lust at all in this movie. What I do find, is a woman torn by her emotions and doing the right thing or the "kind" thing. Even Sean Penn is laid-back with his enduring advances.I found it to be a monument to human emotions, both caring and caustic.

As novelist, W. Somerset Maugham tends to be somewhat uninspiring; his short stories - frequently rather long - are better, and his essays run the whole gamut from the almost trivial to the almost philosophical. As a writer he is a long long way from novelists like Henry James, Joseph Conrad and Aldous Huxley: his characterization is shallow, unreal, such that wherever he sets his scenes - Pago Pago, Firenze or uptown London - one does not connect too well with the tale in question, which, often, fills one with a feeling akin to dejà vu: one has seen variations on the theme in previous writings of his. Maugham, then, is very much a one-horse matter, and in most cases, with the passing of time, his stories have become rather insipid.So has 'Up at the Villa'. Even the wonderful Anne Bancroft could do little to rescue this film from being a rather colourless account of well-to-do stiff-upper-lip British people hanging out in Florence on the eve of the Second World War. The dialogues are stiff, wooden, lending much lacklustre to the proceedings and is clearly visible in the performances offered by what, on paper, is a solid cast. But one could not really care whether Kristin Scott Thomas finally made it with Sean Penn, James Fox, or the wretched violinist Jeremy Davies. This last named started off really well, but finally sank into the abjectedness which pervades this film, especially in the second half. The result is a very quaint outdated and outmoded behavioural incursion which ends up being almost farcical, as well as overblown and tedious.No, this is not in any way comparable to 'Gosford Park' (qv) which is magnificent, again with Ms Scott Thomas, far superior with at once more depth and scintillating dialogues. Given the range of Maugham's writing, no way was this film ever to become comparable with 'Portrait of a Lady' (qv), say, 'The Hours' (qv), say, or even the powerful and majestic TV-mini 'Nostromo' (qv). However, 'Up at the Villa' does serve as a pointer inasmuch as it may show in which direction serious attempts at character-driven or dialogue-driven films may be heading, whether period pieces or not.Nice photography in the Italian countryside, and am wondering if part of the film was in fact shot further north of Florence, maybe even in the Lombardy region.