Even after
completing Hungry Hearts, I’m not
entirely clear on what type of film writer/director Saverio Costanzo intended
to make; what begins with a scene that suggests a subtle romance slowly sinks
into a schizophrenic narrative about mental illness unable to decide whether it
is a thriller or a drama. Even when it seems clear that the screenplay would
have us treat the material as somber melodrama, the music and stylistic camera
choices that Costanzo use suggest that Hungry
Hearts a psychological horror film in the tradition of 1970s Roman
Polanski. Either way that I consider the film, it doesn’t work for me, though I
will admit that elements of the narrative certainly succeeded in leaving me
unnerved.
Beginning with
an awkward meet-cute in a restaurant bathroom, Hungry Hearts starts like an ordinary romance, assuming you can
ignore the later germ-obsessed female lead never making mention of the fact
that the male protagonist forgets to wash his hands after two explosive visits
to the restaurant toilet. This strange scene transitions into a sparse
collection of sequences showing the quick advancement of the relationship
between Jude (Adam Driver) and Mina (Alba Rohrwacher). Before long they are
married and expecting a child, which is when their relationship begins to
crumble. By refusing us the clarity of information prior to this point,
Costanzo is able to make Mina’s change in behavior after the pregnancy appear
to be a complete surprise, though the irrationality of her character may have
had more impact if it didn’t seem to come out of left field.
Once pregnant,
Mina develops a series of theories and ideas about her child’s health. Her
dedication to veganism along with an obsessive paranoia about doctors and
outside medical help makes the pregnancy difficult and the birth of their son
something of a miracle. Unfortunately, this is only the beginning of their
troubles. When Mina’s refusal to follow the doctor’s advice leads to serious
health risks for their child, Jude must choose between the safety of his son
and supporting his unstable wife in her decisions. Hospital visits are done on
the sly and Jude must sneak around behind his wife in order to feed his son
necessary nutrients.
This is where
Costanzo backs the narrative into a corner, leading to an inevitable ending
which simultaneously feels a bit like a cop-out. Prior to this rushed
resolution in the final moments of the film, there are many repetitious scenes
of Jude and Mina arguing about the same issues. The claustrophobic feel of the
cinematography, a moody soundtrack, and an over-reaching performance from
Roberta Maxwell as Jude’s protective mother give the second half of Hungry Hearts the feel of a
psychological thriller. The tension continues to build until Costanzo relieves
it with his rushed resolution, seemingly ending before the audience has time to
wonder what the point of it all was.
Entertainment Value:
3/10
Quality of
Filmmaking: 4.5/10
Historical
Significance: 3/10
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