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Up at the Villa
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Directed by Philip Haas
A woman left alone by the death of her husband finds her love life has become suddenly and dangerously complicated in this drama. Mary Panton (Kristin Scott Thomas) is a British woman living in Italy in 1938 who has been financially ruined by the death of her husband. Edgar (James Fox), an aging diplomat, asks Mary for her hand in marriage, and while she doesn't love him, she longs for the security of a husband and asks for a few days to consider the proposal. The next evening, Mary is invited to a party by an American socialite known as the Princess (Anne Bancroft); there, Mary meets Rowley Flint (Sean Penn), a rough-hewn and cocky American who is intrigued by her. Mary also feels drawn to Rowley, but their personalities clash, and they end the evening in an argument. Mary impulsively spends the night with Karl (Jeremy Davies), a young musician who played at the party. In the cold light of day, Mary decides that her fling with Karl is best left as a one-night stand, but Karl insists that he's fallen in love with her, and he melodramatically kills himself. Mary, desperate, calls upon Rowley to help her hide the body; he agrees, and soon they are both being questioned by local fascist leader Leopardi (Massimo Ghini) about Karl's disappearance. Up at the Villa was adapted from a novella by W. Somerset Maugham. ~ Mark Deming, All Movie Guide
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Review by All Movie Guide
All Movie Guide
lost interest.
Up at the Villa is the type of British period piece that used to get made all the time, but lost its sense of urgency and had become something of an anomaly by the year 2000. There's nothing especially unskilled about it, but the result is just ho-hum. Director Philip Haas gets off on the right foot by casting the luminous Kristin Scott Thomas as a widower in search of a suitable match, but Thomas submits a performance that's emotionally reserved and squeamish, as though she's in constant fear of being touched by something nasty. Sean Penn comes off a little better, but even playing a cocksure American, this type of material is pretty different from what usually interests him. If the project is permeated with a sense of "so what," then W. Somerset's Maugham's source material is surely somewhat to blame. Up at the Villa takes place at the cusp of World War II, and there are a few ominous hints about how the fascist movement will impact the characters. However, these never turn into anything, leaving a viewer at a loss to assign more significance to the material than a scandal/cover-up plot set against the backdrop of a wartime Italian villa. There are various melodramatic twists and turns to the narrative, but since no one stays exposed to harm for very long, it's hard to have much stake in the tepid outcomes. ~ Derek Armstrong, All Movie Guide
 

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