Illuminata (1998)

This is the first film I've seen in eons where I wanted a copy of the script. There are so many insightful, poetic and beautiful lines in this film that you can't remember them all. I can't even remember one now. I'm on cerebral sensory overload.

The film will undoubtedly be compared to "Shakespeare in Love." It too concerns a writer and a troupe of actors in "olden" times. But "Illuminata" is so much more than that more widely seen film. John Turturro, who co-scripts, acts, co-produces and directs here, brings the film more of a stage actor's touch. While it does have a certain, stagy quality to it, the film is actually simply more cinematically bold and daring, more poetic because of it. Where many films become claustrophobic because of their setting at a theater stage, Turturro uses this to somehow open up the film even more. Turturro isn't afraid to highlight the background or shoot the characters through a sheer stage curtain backdrop if it makes the film more beautiful or more meaningful. His film moves effortlessly through the moments that define his characters, delving into the play which shapes their lives which shapes their play which shapes their lives, the Moebius strip of existence that helps them live and learn and love. It is rugged and fine, gossamer and black and bright as day; it never ceases to amaze and delight us.

But the film does have some problems. For one, it is so cerebral and so poetic that it often fails to truly engross us. We get so caught up in the beauty and the cadence of the film that we forget to pay attention to what it is about and to what is being said. Turturro also casts the recognizable faces of Susan Sarandon and Christopher Walken in highlighted secondary roles and then allows them to overact into delirium. Sure, it is fun to see Sarandon in such a bawdy role, probably influenced by Sara Bernhard, but watching Christopher Walken as the critic inspired by Oscar Wilde is sheer homophobic tedium. Walken camps up his repulsive dandy to the nauseating extreme and then Turturro foists a plot turn upon us that has the homosexual preying on an actor he has developed a crush on. At least it's not a pretty teenage boy. But Walken's overacting insights repulsion rather than empathy. We don't feel sorry for this monster when his unrequited lover turns and runs from his clutches. We don't feel anything expect for the relief that this segment of the film is over. 

Finally Turturro casts the lackluster Rufus Sewell in what is, kind of, supposed to be the lead role. Sewell, who cannot act, plays his role well - since he is playing a puffy, egotistical leading actor who cannot act. His poor acting reflects his inability to separate life from art, overblown acting from real personality. This is delightful to view, until Turturro calls upon him, in the films finale, to truly act. And Sewell falls flat exactly as we expect making the film's final point fail. It's a sad defeat.


All of this, all of it, however, is negated by the wonderful, free-spirited, lilting performance of Katherine Borowitz (the real life Mrs. john Turturro). With the eloquent rhythm of a true artist, Ms. Borowitz elevates every frame of every foot of film she is in to true perfection. Never missing a note, a beat, a moment, Ms. Borowitz draws us into the film, willingly, until we are caught under her delicate, intricate spell. Her acting consist of baring her naked self to us and letting us absorb every molecule of her being. Her voice pours forth the brilliance of the script in the beat of the angel's wings. Light as a hummingbird yet as full as a barrel-chested bodybuilder, Ms. Borowitz is "Illuminata." She owns it. She brings it forth and rears it. The two, her self and her work, become inseparable. It's magic. 

Graciously, she is aided by wonderful performance from many other performers, Ben Gazarra, Beverly D'Angelo, Leo Bassi and Aida Turturro (John's sister?) turn in work of utter wonder. Aida's buxom and lusty Martha proves that big girl's can be just as sexy and as desirable as the petite models plastered on magazine covers. She did not get the role due to nepotism because no other actress could portray the role so boldly and unabashed.

Turturro has crafted a fine film to rival "Shakespeare in Love" and all the other period pieces which turn on actor's lives. The film is humorous, delightful, charming, and poetic. Cinematically, it refuses to be pigeon-holed. Turturro uses puppets to frame the film in a device that is charming and new. He also captures the true feeling of celebrity in a segment where, at a party, his character hears all the chatter in the room and choreographs it into a operatic moment where all the characters sing his praises, literally. It's beautiful. "Illuminata" is a great fresco. Too bad Walken and Sewell chip away heartily at it's delicate, finely crafted edges. 

Note: Based on the play by Brandon Cole, who wrote the screenplay with Turturro.

Report Card

Script: A+

Acting: B-

Cinematography\Lighting: B+

Special Effects\Make Up: A

Music: B-

Final Grade: B