Julianne Moore has played a scorned, stone cold intellectual in Maggie’s Plan and a mother struggling with an early onset Alzheimer’s diagnosis in Still Alice.
In both films, much like the rest in her extended repertoire, Moore is the centerpiece of an emotional catharsis and her performance shapes the films into memorable works. This may be why director Paul Weitz relied on such a tried and true movie star to bring both depth and drama to Bel Canto, a thrilling film adaptation, based on the award-winning novel by Ann Patchett, about an opera singer held hostage while performing abroad and the unexpected relationships she forms while being held prisoner.
Wealthy Japanese businessman Katsumi Hosokawa (Ken Watanabe) arrives in South America to attend a party celebrating the upcoming factory his company plans to build in a nearby impoverished town. The lavish party, which takes place in a beautiful mansion, includes a full wait staff for the dignitaries flown in from all over the world. Katsumi doesn’t get caught up in these high society details because he has his sights set on the guest of honor: the world-renowned opera singer Roxane Coss (Moore). However, his opportunity of a lifetime to hear Roxanne perform in such an intimate setting is cut short when anti-government terrorists storm the mansion and take everyone hostage, demanding to swap the innocent group in exchange for the country’s President.
…The message is loud and clear: love is universal.
Being held as political prisoners is a terrifying reality for all involved, but Katsumi does everything he can to make Roxane feel safe. Despite the fact that this group of captives speaks different languages and comes from a variety of cultural backgrounds, the hostages do their best to connect with each other. Katsumi’s bond with Roxane grows stronger by the day as she begins to let her guard down and allow her vulnerabilities to penetrate through her usually poised exterior. Days pass by while negotiations between the police and the rebels stall, yet inside the mansion, humanity begins to break down barriers with rebels as they open up to and form friendships with the hostages, and vice versa.
Ken Watanabe, better known as Katsumoto in 2003’s The Last Samurai, is a stoic presence on screen. His performance is restrained and strong, yet his timing as to when to show his vulnerable side is perfect. Julianne Moore shines as Roxane Coss with the only caveat being the scenes of her singing where Moore, who is such a well-known actress, plays an opera singer whose voice is dubbed over by international opera star, Renée Fleming. Fleming’s vocal talent is breathtakingly beautiful but knowing that her voice isn’t coming out of Moore’s mouth can feel strange at times. Ultimately, a suspension of disbelief is necessary here.
Bel Canto is a very tight-knit film, with the majority of the story takes place in or around the mansion. This gives the audience a sense of the confinement the hostages feel. At times, it can play a bit too overly dramatic, but the message is loud and clear: love is universal. Love and admiration for others can cross language barriers, cultural differences, and distance. Now isn’t that a beautiful thing to be reminded of every now and then.
‘Bel Canto’ is not rated. 102 minutes. Opening this Friday at Laemmle Monica Film Center, On Demand and iTunes September 21st.
