By: debbie lynn elias
“Captain Corelli’s Mandolin” is just the latest example of why many books should not be turned into films, literacy should be promoted in our educational institutions and sub-titles should be used on films requiring foreign accents.
Based on the best-selling novel of the same name by Louis de Bernieres, this is a story of love set against a backdrop of war in 1940 Cephallonia, a small Greek island in the Mediterranean that looks as if it should be on a postcard – quaint, colorful, serene and yet robust with the life and history of its proud people. We learn of Cephallonia’s history through its unofficial historian and town doctor, Dr. Iannnis, admirably portrayed by screen veteran John Hurt. His daughter, Pelagia, played by Penelope Cruz, is educated in medicine and literature and has aspirations to complete her medical training and become a doctor to her people.
With World War II raging, the young men of Cephallonia enlist in the Greek Army and go off to join the battle, among them, Pelagia’s betrothed, the testosterone-filled Mandras (Christian Bale). As Mandras sails away, an invading force from the Italian Army arrives, complete with an opera singing company of men headed by Captain Antonio Corelli played by Nicolas Cage. Obviously immediately smitten with Pelagia on his arrival to town (which does not go unnoticed by Pelagia’s father), Corelli takes up room and board at her home through an arrangement between the company quartermaster and Dr. Iannis. Pelagia, however, is less than thrilled with their houseguest let alone the fact that the Italians are even on Cephallonia, criticizing and insulting Corelli at every turn for his joking and singing manner, badgering him with “Is everything a joke to you? What is there to sign about?” But, as we all know, this blustering is nothing more than needed foreplay to set the stage for Corelli and Pelagia to confess their true feelings for one another, despite Pelagia’s engagement.
Needless to say, the course of true love is never smooth sailing and here is no different. Madras wanders back from the war severely injured (primarily from walking barefoot), leaves again to fight for the underground, and then wanders back in again. His mother, played by the Greek actress, Irene Papas, although lacking real fire in her performance, nevertheless shows disdain towards Pelagia after realizing her son’s love has been “betrayed” and in true almost-mother-in-law fashion, waggles her finger and her tongue to the townspeople about the situation. The Nazi’s mix things up even more when they come to the island after the Italians surrender to the Allies in 1943, but as to be expected, Nazi’s can’t be trusted and death and destruction become the watchwords of the day as we see everyone’s dreams to go up in smoke. And as if the Nazi’s weren’t enough, Mother Nature herself stirs the pot even more in 1947 in the form of a massive earthquake.
Although capturing the visually breathtaking island location and panoramic vistas, director John Madden and screenwriter Shawn Solvo fail in their attempts to translate this literary work of art for the silver screen, losing the heart and soul of the characters and the very spirit of the story. With a mix of Greeks, Italians and Germans, everyone speaking (or trying to speak) English, some very poor foreign accents (sorry Nicolas) and characters translating for characters while speaking in English, dialogue in native tongues with sub-titles would have been preferable. In addition to the non-chemistry between Cage and Cruz, the script falls flat in creating and establishing the groundwork for the romance between Pelagia and Corelli, giving the viewer no idea of their attraction but for Corelli playing his mandolin. Their movements seem almost mechanical and pre-conceived as opposed to passionate and spontaneous. On the other hand, David Morrisey gives an interesting turn as German captain, Gunther Weber, going from wimpy and indecisive to befriending the Italians to hanging his head in shame at the acts of the Germans to cold-blooded killer. Piero Maggio is a stand out as Corelli’s friend Carlo, giving new meaning and stature to friendship and quiet loyalty.
There are also a few brief shining moments of dialogue which give some character insight as to pride and dignity of the Greek people themselves when the town mayor states he would rather surrender to the dog of a German office rather than an Italian and another instance where the writing on a statute in the town square has been changed from Greek to Latin. Too bad more of this type of character study and detail didn’t come into the film.
Despite its shortcomings, as with most love during war movies (okay, not “Pearl Harbor”), “Captain Corelli’s Mandolin” is a tear-jerker. If you can overlook the poor script, bad accents and lack of chemistry between the film’s stars and concentrate on the beauty of Cephallonia and the auditory delights of the exquisite soundtrack, the movie is well worth the price of a matinee admission.
A word to the wise, however. Read the book and savor every word. And whether you read the book and/or see the movie, know that the Captain Corelli’s mandolin not only breathes life with each note played upon it, but ultimately saves life as well.
