Film: Sea Purple
Year of production: 2009
UK Release date: 20th June 2011
Distributor: Peccadillo
Certificate: 15
Running time: 105 mins
Director: Donatella Maiorca
Starring: Valeria Solarino, Isabella Ragonese, Ennio Fantastichini, Giselda Volodi, Maria Grazia Cucinotta
Genre: Drama/History/Romance
Format: DVD
Country of Production: Italy
Language: Italian
Review by: Tim Molton
Based on the true events of Giacomo Pilati’s novel Minchia di Re, Donatella Maiorca’s 19th century tale of forbidden love was a surprise Box Office hit in her home nation of Italy, and whilst anticipation of the DVD release is widespread, the film has already developed cult status.
Set against the backdrop of 19th century Sicily, Angela (Valeria Solarino) is a young girl abused by her father, Salvatore (Ennio Fantastichini), an aggressive and violent man who longed for a son and blames his wife for giving birth to a daughter.
Angela’s best friend, Sara (Isabella Ragonese), is forced to leave the island, and Angela sits on the rocks by the sea longing for her friend’s return. Eventually, the day comes, and Angela and Sara realise that their bond as children is even stronger as adults, leading Angela to act upon her emotions. Sara is reluctant, knowing that in such a society governed by religion they could never be together, but eventually she succumbs to the temptation.
However, when Salvatore - who manages the quarries on the island on behalf of the ruling Baron – arranges Angela’s marriage to Ventura (Corrado Fortuna), the son of his second in command, Angela speaks out about her love for Sara, much to the anger and repulse of Salvatore.
Salvatore’s only solution is to lock Angela in a basement, leaving his long-suffering wife, Lucia (Giselda Volodi), to try and save her daughter from such oppression and abuse. Bribing the local Priest with her knowledge of the church’s misdemeanours, she is able to have the Priest proclaim that Angela was in fact born as a man, and is to be known as "Angelo" from then on.
The remainder of the film sees Angela struggle in her life as a man, taking on the responsibilities of her father at the quarry, whilst trying not to deny her identity as a woman, or her love for Sara…
It is easy to see why this film has obtained a cult status amongst gay and lesbian audiences, as it focuses upon a young woman’s horrific struggle to be with the girl that she loves. The title alone is intriguing, referring to a saltwater fish which changes gender midway through its life, and gives a good indication of the content of the film. Further, this tale is so extreme that it would be unbelievable were it not based upon true events from the late 19th century, a fact which makes this story so much more appealing.
However, whilst the roots of the story lay outside the realms of fiction, Angela’s tale is so distinctive and unique - the latter stages, in particular - that most viewers will find it very difficult to connect with her, and to empathise with her situation.
The film begins with Angela and Sara as children, and although there are only a few scenes with which to illustrate their relationship, it is evident that they are very close friends, and that Sara’s departure from the island is difficult for Angela to accept. However, the return of Sara after such a significant period of time, is so suddenly followed by intense portrayals of lust and love that it is very difficult for the audience to in any way empathise with their emotions.
Nevertheless, there are some very passionate scenes between Solarino and Ragonese which follow, and help the audience to better gauge the seriousness of their feelings for one another. It is, therefore, somewhat unfortunate when the gender transformation occurs, given that the first hour or so of the film is spent trying to instil some credibility into the relationship, and, at the very least, develop a strong sense of sympathy for the two main characters.
That’s not to say that when Angela takes on her role in society as Angelo, the film suddenly fails and is no longer watchable, but questions are certainly raised as to the credibility of the story. Much like a Shakespearian play, it is obvious to the audience that Angelo is a woman posing as a man, and so naturally one might query how society and, more intriguingly, her father could have continued to accept her as a man for such a sustained period of time.
Despite a somewhat poor screenplay, however, much of the cast must be given credit for exceptional performances. Ennio Fantastichini is so convincingly brutal and abusive as the misogynist father that a greater sense of authenticity is brought to Solarino’s over-zealous love scenes with Sara.
It is the chemistry between the two leads, however, that gives this production something worth viewing, as Solarino’s passion and obsession is greatly complimented by Ragonese’s wavering reluctance and inevitable surrender. It is unfortunate that such capable actresses could not be better utilised, as character progression is rushed in the early stages, despite the film carrying very little pace.
Maiorca’s use of the landscape is artistic and symbolic of the two lead characters. The beautiful yet barren coast of Sicily is a detached and isolated setting; perfect for a story of two persecuted lovers. Unfortunately, the setting is so barren and unappealing that the pace of the film feels even slower, and the inevitable conclusion way off in the distance.
Certainly, Sea Purple is an artistic piece or filmmaking, with excellent casting evidenced by several captivating performances. However, whilst the film was much anticipated and well received by the gay and lesbian communities, its slow pace, bleak setting and niche subject matter may accumulate to a struggle in generating any real appeal from a wider audience. TMO
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