Because what’s not to love about watching films on Fridays about foreign worlds? A weekly series of posts to follow on all sorts of films: thriller, romance, action, mystery, and just down right quirky from all countries and languages. If you have any suggestions, by all means leave a comment! I would love to receive suggestions for more foreign films. Opening this weekly series we have…
Original Title: Bella Martha
Length: 1hr 45 minutes
The film begins with a mouth-watering, epicurean description of food as the eponymous protagonist details to her therapist how she would go about preparing the perfect full course meal. DISCLAIMER: DO NOT WATCH ON AN EMPTY STOMACH. I did and regretted it within the first two minutes.
The plot is deceptively simple: Martha is a single, German woman with a passion for cuisine who must learn to reorient her life around a new Italian coworker and to care for her orphan niece after the untimely death of her sister. For those who have seen the American version, No Reservations (2007) with Catherine Zeta-Jones and Aaron Eckhart, the German original will breathe new life and understanding into its American counterpart.
But while similar in the main plot, No Reservations features an all Caucasian main cast, which in turn renders Mostly Martha‘s original secondary plots useless in the remaking. Other differences include the pacing of the film. American films tend to be fast-paced, segue easily and fluidly from one scene to the next, and stitch themselves together into a false sense of artistic perfection. I say false because in the seamless move from main scene to main scene you miss the little scenes, the imperfect little fillers that give a film its realistic essence. By comparison, Mostly Martha is shot to give the viewer as much background context as possible about who Martha is and life around her. There are main scenes, not so main scenes, and fillers shots of the characters at their most candid. None of the romance or her flaws are romanticized or glossed over; the story reveals itself gradually at a natural pace. When Martha and Mario kiss, they don’t go at it calmly or at just-the-right angle, they simply have a go at kissing like most of us do, however awkward it may be to watch.
Also of note, our alliterative culinary artiste duo have all the tension and chemistry that two people from vastly different background can possess. From language and culture to the way in which they run their kitchens and the food the make – everything, except their shared love for the art of cooking, is different. As they learn how to bridge their differences through their commonalities and how to accept each other as they are, Martha’s and Mario’s characters grow. The secondary plot issues, palpable between German-born Martha and Italian Mario, revolve around race and who is an insider versus an outsider.This in turn makes his food that much more exotic to Martha, who has never once been to Italy and can only experience it through Mario’s cooking. Indeed, this film feels as much a discovery of culture and intercultural interactions as it is about the food and the romance.
Unfortunately, No Reservations also has no underlying current of bridging cultures and worlds through food. It’s feels more like two people who have a different administrative approach and can’t seem to see eye to eye on the running of a kitchen. While Catherine Zeta-Jones’ character prefers French cuisine and Aaron Eckhart’s cooks Italian, different culinary tastes do not an intrinsic cultural battle make. Also her descriptions of the food fall flat with her calm and quiet demeanor, where Martina Gedeck’s take flight through use of sensual intonation and passionate verbal caresses. While I love and prefer the modern cinematography of No Reservations (and Catherine and Aaron do have chemistry), I would rate Mostly Martha as the better of the two films for its diversity and for being more than just a romantic caper between two chefs.
Both films are wonderful (yes, I went there) and worth watching… just not on an empty stomach! Bon appetit!