Director/Coscreenwriter: Ivano De Matteo
By Marilyn Ferdinand
One of the most popular writers in Europe is Herman Koch. The sometime actor published his first book, a collection of short stories, in 1985 and has produced eight novels to date. He hit big with his sixth novel, Het diner (The Dinner), a best seller that has been translated into 21 languages, spawned a 2012 film of the same name in his native country of The Netherlands, and reportedly will receive an English-language film treatment with Cate Blanchett at the helm in her directorial debut. The story, one of feuding brothers and family crime, proved irresistible to Italian director Ivano De Matteo as well. His version takes liberties with the novel that open the action beyond a single dinner conversation, giving context to the hard choices at the heart of the drama.
The film opens with two drivers exchanging heated words when one of them blows a red light because he is talking on his cellphone. As tempers flare, the offended driver stops his car, pulls out a baseball bat, and goes after the cellphone user. The driver’s side window shatters, but not from the bat—the driver is a police officer, and he fires a fatal shot into the man in self-defense. The bullet passes through the man and strikes his 10-year-old son Stefano (Lupo De Matteo), who is sitting in the passenger seat and was pleading with his father to stop arguing. This incident brings the two brothers at the heart of the story, Massimo (Alessandro Gassman) and Paolo (Luigi Lo Cascio), together, the former a lawyer defending the shooter and the latter a physician treating the injured boy.
The solidly middle-class Paolo and his wife Clara (Giovanna Mezzogiorno) have one son, the sullen, acne-scarred Michele (Jacopo Olmo Antinori), who hangs out with his older cousin Benedetta (Rosabell Laurenti Sellers) watching embarrassing and violent videos on TV and YouTube. Benny’s father, Massimo, is a wealthy widower who is on his second marriage to Sofia (Barbora Bobulova), who has recently given birth to a daughter. Clara hates Sofia, and Paolo has some long-standing enmity toward his brother, but like clockwork, the two couples meet at Massimo’s favorite restaurant once a month.
Michele has been doing poorly in school, and Paolo wants to keep him from going with Benny to a party. Clara, not wanting him to miss something he has been looking forward to, gets Paolo to relent. At the party, Michele is hopelessly out of place among the college-age crowd and ends up getting very drunk. He decides to leave, and Benny trails awkwardly after him in her high heels. The teens are uncommunicative the next day, but when Clara watches an Italian version of “Crimestoppers,” she sees a video of two people beating and kicking a homeless woman and dragging her along the street. Clara views the video again on her son’s laptop the next day after he goes to school, gets up shakily and walks to the kitchen, only to have her knees go out from under her, shocked to confirm her fear that the pair may be Benny and Michele. Later, Benny pumps her father for legal information about the crime, which she claims her friends committed; Massimo goes to an unsuspecting Paolo and says he suspects that their children were responsible. Angry at Clara for keeping him in the dark, Paolo forces the truth out of Michele. It is then up to the families to decide whether to cover for their children or turn them in.
The theme of The Dinner is similar to that of another EU festival film, Magical Girl (2014), that is, the human struggle between emotion and reason. Clara and Paolo are horrified that Massimo can defend the policeman who left a family man dead and his son temporarily paralyzed, but Massimo believes that everyone deserves a defense. This is the kind of rational thinking one needs and expects from a lawyer. Paolo is overcome with horror at what his son and niece have done, yelling at Massimo, Clara, and Sofia for talking about the best way to keep them from paying for their crime. Paolo’s conflict is enormous, flipping constantly between love for his son and his belief in justice, challenging his kneejerk liberal philosophy. Clara shows herself to be a hypocrite, watching her “Crimestoppers” show to see whether justice will be served, yet choosing to believe the lies of her son until he is forced into confessing and then actively seeking to keep the truth from getting out. Sofia is more dispassionate, as Benny is not her natural daughter, but she will do whatever Massimo believes is right.
The film remains blessedly neutral about technology. Just when we think the film will blame Benny and Michele’s actions on their consumption of violent videos, we see that a security camera is instrumental in uncovering their crime. De Matteo rightly lays the blame directly where it belongs—on human nature, on people driven to violence by thoughtlessness or the view that some people’s lives are worthless. Envy certainly plays a role in how Paolo and Clara regard Massimo and Sofia and their luxurious lifestyle. Our sympathies are constantly shifting, and our beliefs about the characters reinforced and challenged again and again.
The naturalistic film style and the mesmerizing performances, especially by Lo Cascio and Mezzogiorno, take this film and its somewhat familiar theme to some interesting places. It is, however, hard to get a toehold on the film because we are catching these characters at a stressful moment in time; without a thorough grounding in character, the film sometimes tips into melodrama. Whereas the first half of the film contains only diagetic music, the introduction of an emotional score in the second half amps the melodrama rather unnecessarily.
The tack De Matteo takes to this story recalls the amorality of privilege and the immorality of envy found in The Bling Ring (2013), suggesting that Gen X filmmakers (De Matteo is 49) are acutely aware of the worm riddling our new Gilded Age and are seeking to examine and expose it. While The Dinner perhaps needed a more full-bodied script to draw out more nuance to the situation, this film is well worth a look.
The Dinner is showing Thursday, March 26 at 8:15 p.m. at the Gene Siskel Film Center, 164 N. State St., Chicago.