A Bigger Splash

**Spoiler Alert**

Director: Luca Guadagnino/Starring: Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts, Dakota Johnson and Aurore Clement

I usually detest remakes; finding them an unnecessary and inadequate copy of the original but Italian director Luca Guadagnino's A Bigger Splash, which re-imagines Jacques Deray's 1969 La Piscine, establishes its own dramatic identity. Guadagnino transports the original story from the French Mediterranean to a Sicilian retreat, where psycho-sexual tensions motivate the characters actions. Guadagnino's film is a sensual delight. Hedonistic diversions serve as opportunities to not only unshackle the sexual potential of a friendly sojourn, but also crash a couple's almost inviolable marriage.

The premise is something we've seen a billion times before; a small group of people gather together in a scenic retreat presumably to relax and enjoy one another's company. What follows thereafter is also something we've seen many times before; characters dealing with barely suppressed acrimony, sexual tension and past resentments, which eventually erupt. In this case, the end result is extreme and tragic. Though the plot is hardly new, Guadanino's cast makes the story's psychological richness compelling.

Tilda Swinton plays Marianne Lane; a rock star of considerable renown, who, with her documentary filmmaker boyfriend Paul (Matthias Schoenaerts) decide to rent a place in Sicily for a getaway that serves in a large part as a convalescent retreat. Marianne has just had throat surgery, which has rendered her literally speechless--or nearly so. While Marianne recovers from her surgery, Paul recovers from alcoholism. From what we see of their physical relationship, we can safely assume Paul and Marianne are very much in love.

But their blissful state is interrupted by the arrival of Marianne's old flame and Paul's former friend and collaborator; Harry Hawkes (an exuberant Ralph Fiennes) and a beautiful, young woman he introduces as his daughter; Penelope Lannier (Dakota Johnson). From Marianne and Paul's reactions to his presence, we can safely gather they aren't entirely happy to see their manic friend, for reasons partly obvious.

As the parties spend time under one roof, respective back stories come to the fore in flashbacks as we see Marianne and Harry from long ago when their passionate relationship burned stellar hot. We also see Harry and Paul in the past during the making of a music documentary. After Harry asks Paul if he would like to meet Marianne, the documentarian eagerly assents. Harry's act of generosity comes back to haunt him after Paul and Marianne's relationship becomes viable. Interestingly enough, we never see Paul and Marianne interact in a flashback.

Though Marianne seems firmly committed to Paul, Harry slowly makes attempts to seduce her and woo her back. Meanwhile, Penelope begins her own slow seduction of Paul, who resists her in spite of her powerful sex appeal.

The sensual charms of the Sicilian milieu are irresistible not only to the characters but may be to the audience as well. Guadagnino spares none of our senses. The group's naked or half-naked bodies delight the eyes while the island's culinary pleasures tempt our palates. A delectable sight of a large fish cooked and coated in a thick layer of breading is but one of the film's gustatory visuals. A scene where Harry shares a memory from his professional life as a music producer on the Rolling Stones' album Emotional Rescue serves as prelude to his actually playing the song of the same name for the gathering, who fall under the music's enchanting spell. No one is more carried away by the music than Harry, who ends up outside, rapturously overcome by the music.

The contrasts in personality between Harry and Paul are very conspicuous. Where Harry always seems annoyingly "on" and always game for a good time, Paul is more reserved and introspective. As the film moves along and Harry's play for Marianne becomes more aggressive, one might wonder which man is better suited to be her companion. Everything in Harry's nature seems related to his passion for music, which makes he and Marianne the rock star, the more logical pairing.

As the four loll about the pool and wander about the arid surroundings, the tension begins to build. Harry presses Marianne for sex, hoping to rekindle their former relationship while Penelope never tires of assailing Paul's nearly impenetrable wall.

During a village festival, Harry commandeers a karaoke machine in a town bar. Harry's spirited performance begins to draw a large crowd. During one song, he waves Penelope over. She joins him in a sexy, highly inappropriate dance that raises a few eyebrows in the village.

As Harry and Penelope's vacation nears an end, all the pent-up tension detonates, resulting in a tragedy that seems almost inevitable.

The story's conclusion leaves the audience with several questions. When Paul and Penelope wander off on a day-long walk, does he finally give into temptation as she stands beside a rocky pool, naked and inviting? Is the father/daughter relationship between Harry and Penelope really a sham? Are they in fact, lovers? Their relationship is called into question when Marianne and Paul discover Penelope is actually 17 though she has claimed all along to be 22. And Penelope's cold demeanor toward Marianne is that of a jealous rival rather than a daughter.

A film like A Bigger Splash relies heavily on its cast to handle its rich psychology, which is not a problem for someone like Tilda Swinton, who excels in roles like Marianne. Schoenaerts' broody performance is a perfect counterpoint to Fienne's Harry, whose emotions and simmering sexuality are never concealed. Harry's sexual power is a bomb blast that spreads in all directions. We even see its subtle, barely perceptible effect on Paul. Fienne's performance is almost over-the-top but he grounds his character enough to make him credible. He certainly makes everyone else look as though they are grossly underplaying their parts. I don't know that Johnson's character is drawn as well as her co-stars but she handles her role well enough.

One would think Guadagnino might indulge himself in visual sweeps of his Sicilian home but he never goes for breathtaking pans or arresting long shots of the island's topographical beauty. Though the surroundings are very much in evidence, he never lets the film become a mere travelogue.
Guadagnino leaves us with unsolved mysteries that he wisely avoids addressing. We come away from the film, having had an intoxicating, sensual experience. Behind the epicurean delights and Mediterranean sunshine is an engaging but ultimately tragic story.