Lina Wertmüller
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(CNN) -- Undoubtedly Guy Ritchie's version of Lina Wertmuller's 1974 Italian-language classic "Swept Away" will be compared ad nauseam to the original by high-minded pundits from coast to coast -- many of whom probably never saw the original.
…out of Swept Away (October 7/02) Based on Lina Wertmüller's 1974 movie of the same name, Swept Away follows spoiled socialite Amber (Madonna) as she embarks on a yacht trip with her husband (Bruce Greenwood's Tony) and four friends - with problems ensuing as Amber finds herself forced to become brutish deckhand Giuseppe's (Adriano Giannini) slave after the two characters are shipwrecked on a deserted island.
Some might go to Guy Ritchie’s misbegotten remake of Lina Wertmüller’s distressing and hilarious 1974 masterpiece, Travolti da un insolito destino nell’azzurro mare d’agosto ("Swept Away . . .
It fares the worst when contrasted with the original Swept Away, the controversial 1974 effort that earned writer/director Lina Wertmuller a Best Director Oscar Nomination.
Except for an opening scene within blue-gray fog that recalls Giancarlo Giannini's woodland forays in Seven Beauties, No Man's Land doesn't do much with color or light effects besides the rather generic contrast of the idyllic meadow with the "War Is Madness" shenanigans among the characters.
We’re reminded of the old Lina Wertmüller movie Swept Away, in which a spoiled rich woman is stranded on an island with a working-class sailor after their cruise ship sinks.
In 1976, Lina Wertmüller made a movie called Seven Beauties that presented (with vulgar bravura) a concentration-camp survivor as the ultimate moral sellout, but that's not what Polanski is up to here.
…out of Swept Away (October 7/02) Based on Lina Wertmüller's 1974 movie of the same name, Swept Away follows spoiled socialite Amber (Madonna) as she embarks on a yacht trip with her husband (Bruce Greenwood's Tony) and four friends - with problems ensuing as Amber finds herself forced to become brutish deckhand Giuseppe's (Adriano Giannini) slave after the two characters are shipwrecked on a deserted island.
Their power struggle sometimes plays like a popcorn variation on Lena Wertmüller’s Swept Away…
…a nice mix of the Hanks classic, along with SWEPT AWAY and MISERY…
Assisting him is a Teutonic wench (Rebel Wilson) who reminds me of the lady concentration-camp commandant in Seven Beauties .
It’s as if the director, Garry Marshall, took Lina Wertmüller’s “Swept Away” and turned it into a retro-kitsch family sitcom: “Everybody Loves White Trash Goldie.”
The film plays like a mash-up of Lina Wertmüller's "Swept Away" and Michael Winterbottom's "Greed" by way of ‘Gilligan’s Island.’
A last-minute twist makes for a very black payoff, but it’s not quite enough to put the seal of originality on a familiar castaway scenario that has rather too familiar echoes of Lina Wertmüller’s Swept Away, TV’s Lost and even antique British comedy The Admirable Crichton.
Wie bei Lina Wertmüller in Travolti da un insolito destino nell’azzurro mare d’agosto (1974) (und später im unsäglichen Guy-Ritchie-Remake mit Madonna: Swept Away) wenden sich nun die Verhältnisse.
Seven Beauties, like De Sica’s Garden of the Finzi-Continis and Bertolucci’s The Conformist, appears to confront the moral problems of Fascism but really only registers a distaste for Fascism’s style: its philistine failure to recognize the high culture of the Jews, in De Sica; its brutal imperial architecture and interior decoration, in Bertolucci; and in Wertmüller, its affinities with Nazism, represented by a taste for Wagner and the appointment of a mountainous and porcine Shirley Stoler as camp commandant.