The beauty of film

While soaking up the last bits of summer at home before returning to Bloomington for the fall semester, I had the opportunity to see Luca Guadagnino’s “I Am Love” at the local art theater. The film was one of the most beautiful things I have ever seen, and it got me thinking about beauty in films. More specifically, where did it go?

Every frame of “I Am Love” is meant to be studied and admired. The camera coddles and caresses the Italian landscape, evoking the memory of civilizations long gone. Simple shots of branches and leaves blowing in the wind elicit deep sorrow or uplifting joy, even though they should be inherently emotionless.

Tilda Swinton, who plays a member of a wealthy Italian family which struggling in a changing society, is more than a simple human being; she is an epic, romantic figure torn apart and driven to extremes by a love for her son’s best friend.

The film constantly reminded me of another beautiful Italian film, Luchino Visconti’s  “The Leopard.” The 1963 film is similar in its adoration of the Italian countryside. Now available in a Blu-ray edition that preserves the vibrant colors, the film has never looked so good.

It features similarly grand, romantic characters. They are Italian aristocrats, struggling to adapt as Italy displaces them and moves toward its current incarnation.
But back to that question: Where has beauty in films gone? As something nuanced and deeply personal, it can’t be wedged into the lowest common denominator of actions films — beauty doesn’t pay the bills. And current trends in art cinema favor realism over the very unrealistic splendor of “I Am Love” and “The Leopard.”

A balanced cinematic diet can include all of these diverse strains. Unlike cookies, beauty need not be a sometimes food.