un film su Nora, la moglie di James Joyce.
non è facile convivere con un genio, che è sempre una piccola persona in carne e ossa.
Nora non è tipa da essere vinta facilmente, ma è una donna, e solo per questo meno libera e meno tutelata rispetto agli uomini.
non è un capolavoro, ma si lascia vedere bene - Ismaele
Pat Murphy racconta il grande scrittore attraverso il punto
di vista della moglie Nora Barnacle, ripercorrendo la sua tormentata e
difficile vita. Nora, interpretata da Susan Lynch è una giovane cameriera
che un giorno incontra James Joyce (Ewan McGregor), aspirante scrittore, che
subito si innamora di lei. Dopo poche uscite insieme, i due fuggono in Italia,
a Trieste, dove si stabiliscono in un appartamento e hanno un figlio,
Giorgio. Tuttavia, la loro vita sentimentale diventa sempre più
difficile. James, che soffriva di schizofrenia, dopo la nascita della loro
secondogenita, Lucia, diventa immensamente geloso di Nora, nonostante lei lo
ami intensamente. James soffocato dalla gelosia e dai pensieri, comincia a
vivere con la moglie un amore complicato, che porterà la coppia a più
separazioni. Tra separazioni e riconciliazioni, il loro amore li tiene uniti
fino alla morte.
Based on Brenda Maddox’s biography, Nora begins in 1904 Dublin when Nora Barnacle,
from Galway and a chambermaid at Finn’s Hotel, meets for the first time James
Joyce, the future author of Portrait of an Artist as a
Young Man, Ulysses, Finnegan’s Wake. (Like Virginia Woolf, Joyce pioneered
the literary technique called stream of consciousness.)
Boldly, Joyce approaches Barnacle on the street; but it is Barnacle who takes
over the encounter, delighting and intriguing Joyce, but also laying the
groundwork for his future paranoid jealousy regarding her—feelings that would
be exacerbated by erstwhile friends who resented Barnacle’s difference in
social class. Joyce married Barnacle, who inspired his work and whose biography
provided details for it. They had two children and remained together (mostly on
the Continent) for the rest of Joyce’s life. Theirs was a turbulent
relationship.
There are a few fine scenes in director Pat Murphy’s Nora, and the film steadily improves, ending on a lovely, haunting note. There is also a wonderful performance on hand: Peter McDonald’s as Jim’s sensitive, loyal, caring brother Stanislaus. Unfortunately, however, Murphy’s eye is deficient, rendering the majority of her mise-en-scène formless and pointless. Susan Lynch gives a spotty performance as Nora. Co-producer Ewan McGregor’s bespectacled Joyce is vapid, without a hint of intellectual acumen, let alone genius. (McGregor sings beautifully, though.)
The film is about the couple’s relationship; James and Nora are co-protagonists. However, an unbiased view finds the film conforming to our greater interest in Joyce. For example, the boyfriend of Nora’s who died so young registers more vividly as the model for Michael Furey in “The Dead” than as a lingering part of Nora’s own consciousness.
There are a few fine scenes in director Pat Murphy’s Nora, and the film steadily improves, ending on a lovely, haunting note. There is also a wonderful performance on hand: Peter McDonald’s as Jim’s sensitive, loyal, caring brother Stanislaus. Unfortunately, however, Murphy’s eye is deficient, rendering the majority of her mise-en-scène formless and pointless. Susan Lynch gives a spotty performance as Nora. Co-producer Ewan McGregor’s bespectacled Joyce is vapid, without a hint of intellectual acumen, let alone genius. (McGregor sings beautifully, though.)
The film is about the couple’s relationship; James and Nora are co-protagonists. However, an unbiased view finds the film conforming to our greater interest in Joyce. For example, the boyfriend of Nora’s who died so young registers more vividly as the model for Michael Furey in “The Dead” than as a lingering part of Nora’s own consciousness.
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