To Forget Venice

In the however subtle and refined world of Italian cinema from the late 1970s, To Forget Venice is an unforgettable classic. Released in 1979 and directed by the brilliant Franco Brusati, who worked alongside writers Jaja Fiastri and Ennio De Concini, this cinematic gem reflects the complexity of human emotions and relationships, painted on the picturesque backdrop of Venice, known for its compelling romance and serenity.

At its core, To Forget Venice is a candid exploration of age, romance, loss, and change that pivotally encapsulates the fragility of human beings in the flow of time. This Franco Brusati film shines a light on a series of relationships under one metaphorical lens, using the fabled city of Venice as a backdrop, giving the narrative a poetic charm.

The cinematic journey is centered around the vital characters: Marta (Mariangela Melato), her brother Nicky (Erland Josephson), his lover Picchio (David Pontremoli), and Marta's secretary Anna (Eleonora Giorgi). Their lives overlap and converge during a summer retreat at a vintage house in the Venice lagoon.

Marta, a successful yet cold-tempered and domineering publishing editor, invites her brother Nicky to stay with her at her beautiful Venetian house. Nicky, a Yugoslavian-immigrant, is a talented opera singer struggling to cope with aging and loss of professional stature. Accompanying him is his young lover, Picchio, who struggles to reconcile his own dreams and ambitions amid the brewing discontentment in their relationship.

Anna, innocent yet ambitious, exists in the periphery of Marta's life as her personal secretary. Her unexpected arrival at the summer house, ostensibly to assist with Marta’s work, brings a contrasting dynamic to the intermingling relationships, creating a shimmering pool of intrigue, tension, and, ultimately, transformation.

One of the key elements of To Forget Venice is its exploration of generational conflicts and differences, manifesting not only in love and relationship but also career choices and overall perspectives of life. The tale unravels interpersonal dynamics as relationships come to a crossroads during their time in Venice, and characters are dawned with realizations about their lives and relationships.

Brusati’s intricate storytelling, paired with Luigi Kuveiller's fantastic cinematography, encapsulates the delicate essence of characters and their struggles. Each character in To Forget Venice is well-defined, rendering a realistic portrayal of human vulnerabilities and emotions. The captivating performances by Mariangela Melato, Eleonora Giorgi, and Erland Josephson further lend depth to their characters, bringing Brusati's vision to life.

To Forget Venice offers a generous serving of interpersonal drama, blended with occasional doses of humor to lighten the overall tone of the film. This story is a profound reflection on love, life, and change, mirroring human complexities against a tranquil lagoon's changing tides. Ultimately, Venice becomes more than a mere setting in the film; instead, it serves as a symbolic connotation of time, transience, and the meandering path of human lives.

The film was internationally acclaimed upon its release and it secured several award nominations, including Best Foreign Language Film at the 52nd Academy Awards, further solidifying Brusati's contribution to Italian and international cinema.

To Forget Venice is insightful, touching, and, at times, heart-shattering. It uses a warm summer in Venice to tell a profound story of familial bonds, personal evolution, and the boundless capacities of the human heart. Its intimate depiction of relationships, coupled with its emotional depth and subtle humor, makes it a compelling watch. In true Italian cinematic tradition, it leaves viewers contemplating about their own relationships, dreams, and time's inexorable march.