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Movie Review

‘This Must Be the Place’ With Sean Penn and Judd Hirsch.

More about This Must Be the Place Film

Director : Paolo Sorrentino.
Writers : Paolo Sorrentino (story), Paolo Sorrentino (screenplay).
Stars : Sean Penn, Frances McDormand and Judd Hirsch.Genre : Comedy, Drama.
Runtime : 118 minute.

Cheyenne, an American singer whose big moment was sometime in the ’80s (a decade to which his gravity-defying jet black hair pays vivid and tireless tribute), lives in Dublin in a modernized castle with his wife, Jane (Frances McDormand), and their dog. Cheyenne and Jane, who works as a firefighter, have an easy, affectionate, sexually lively relationship. Cheyenne has a handful of friends including a moody Goth girl played by Eve Hewson, whose father is the real life Dublin rock star Bono but there is nonetheless something out of place about him, an aura of sorrowful estrangement that is not just a matter of appearance.

Dressed all in black, with bright red lipstick, dark eyeliner and a deathly pallor, dragging a shopping cart behind him, Cheyenne looks as if he could be the great aunt of Edward Scissorhands. His voice high, whispery and fussily precise confirms the impression of a post punk bad boy who grew up into a kooky old lady. 

The people of Dublin accept Cheyenne as he is, partly out of awareness of his celebrity and partly out of a general tolerance for eccentricity. For a while “This Must Be the Place” has a low key, local comic vibe that recalls the sharp, genial ’80s comedies of the Scottish director Bill Forsyth (like “Gregory’s Girl” and “Local Hero”), albeit with the bright colors, flamboyant camera movements and emphatic compositions that are Mr. Sorrentino’s hallmarks. But then it turns into something else or, rather, a bunch of other things, among them a road movie, a Holocaust drama and an epic tale of prodigal sons and vanished fathers. 

Up to now Mr. Sorrentino has specialized in character studies of specifically Italian dysfunction, in which surrealism becomes a form of verisimilitude in its own right. “The Consequences of Love” (2004) traced the fate of a seemingly unexceptional, heroin addicted businessman with Mafia entanglements. Mr. Sorrentino’s masterpiece thus far may be “Il Divo” (2009), a nothing but warts portrait of Giulio Andreotti, one of the most powerful and enigmatic political figures in postwar Italy. That film was hyperbolic, garishly theatrical and rigorously faithful to the historical record completely unbelievable and pretty much all true.

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