Bagno Film

[Marine Farinha]

Hamam (Italian: Il bagno turco, also known as Steam: The Turkish Bath)[1] is a 1997 Italian-Turkish-Spanish film directed by Ferzan zpetek about the powerful transformations certain places can cause in people.[2]

Francesco (Alessandro Gassman) and Marta (Francesca d'Aloja) are an uptight Italian couple running a small design firm. Their marriage, once the most important thing to both, has lost all meaning. Francesco loses interest in Marta, prompting her to start an affair with Paolo, their business partner.

The family who had managed the property under Anita's supervision and direction welcomes him with hospitality, but they are concerned about what the future holds for them. Their young son Mehmet (Mehmet Gnsr) is particularly eager to show their handsome guest around.

When Francesco discovers the property includes a derelict hamam, a Turkish bath, he instead decides to restore the hamam and reopen it to the public. During the restoration, he starts a relationship with Mehmet.[3]

Meanwhile, Marta arrives in Istanbul to get a speedy divorce from Francesco, but she is taken aback when she realizes how much Francesco has changed from his old self: both the hamam and Mehmet's unconditional affection were just what he needed, giving him back a purpose in life. Marta falls in love with him again, causing Rome and the divorce to lose importance for her.

Back at their hotel Andrei feels displaced and longs to go back to Russia, but unnamed circumstances seem to get in the way. Eugenia is smitten with Andrei and is offended that he will not sleep with her, claiming that she has a better boyfriend waiting for her.

Andrei meets and befriends a strange man named Domenico (Erland Josephson), who is famous in the village for trying to cross through the waters of a mineral pool with a lit candle. He claims that when finally achieving it, he will save the world. They both share a feeling of alienation from their surroundings. Andrei later learns that Domenico used to live in a lunatic asylum until the post-fascistic state closed them and now lives in the street. He also learns that Domenico had a family and was obsessed in keeping them inside his house in order to save them from the end of the world, until they were freed by the local police after seven years. Before leaving, Domenico gives Andrei his candle and asks him if he will cross the waters for him with the flame.

During a dream-like sequence, Andrei sees himself as Domenico and has visions of his wife, Eugenia and the Madonna as being all one and the same. Andrei seems to cut his research short and plans to leave for Russia, until he gets a call from Eugenia, who wishes to say goodbye and tell him that she met Domenico in Rome by chance and that he asked if Andrei has walked across the pool himself as he promised. Andrei says he has, although that is not true. Eugenia is with her boyfriend, but he seems uninterested in her and appears to be involved in dubious business affairs. Later, Domenico delivers a speech in the city about the need of mankind of being true brothers and sisters and to return to a simpler way of life. Finally, he plays the fourth movement of Beethoven's Ninth and immolates himself. Meanwhile, Andrei returns to the mineral pool to fulfill his promise, only to find that the pool has been drained. He enters the empty pool and repeatedly attempts to walk from one end to the other without letting the candle extinguish. As he finally achieves his goal, he collapses.

Oleg Yankovsky as Andrei Gorchakov
Erland Josephson as Domenico
Domiziana Giordano as Eugenia
Delia Boccardo as Zoe
Patrizia Terreno as Andrei's Wife
Laura De Marchi as Chambermaid

Andrei Tarkovsky's brooding late masterpiece and a darkly poetic vision of exile was the first of his features to be made outside of Russia, the home to which he would never return. This love and melancholy is embodied in the film by Andrei (Oleg Yankovsky, The Mirror), a Russian intellectual doing research in Italy. Written with frequent Michelangelo Antonioni collaborator Tonino Guerra (L'Avventura), Nostalghia is a mystical and mysterious collision of East and West, shot with the tactile beauty that only Tarkovsky can provide.

Tragically, Del Bagno was killed in a crash in April of 2018, just a week after concluding his work on the film. The team was practicing their airshow routine at Creech AFB near Las Vegas when his jet impacted the ground after failing to recover from a high speed dive.

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Liam Neeson, famous for his role as Oskar Schindler in Schindler's List, appears alongside his son Michel Richardson in the story of an artist from London who goes to Italy in order to sell a villa that had been inherited by his dead wife. Made in Italy (here's the trailer) marks the directorial debut of James D'Arcy, who starred in Christopher Nolan's Dunkirk, and who had an on-hand role in selecting the locations. The film is produced with the help of the Toscana Film Commission, working with the programme Sensi Contemporanei Toscana per il Cinema.

The haunting countryside of Monticchiello, in the Pienza municipality of the Val d'Orcia, was the location they alighted upon. The area is known for its green hills and winding roads unravelling between cypresses and hilltowns, whose beauty has not been diminished by the centuries.

And thanks to its indisputable beauty, the Val d'Orcia has provided the backdrop to many film sets over the years. Franco Zeffirelli chose Bagno Vignoni, Pienza and Montalcino for his Romeo and Juliet and Fratello Sole, Sorella Luna. Andrej Tarkovskij shot his visionary piece Nostalghia at Bagno Vignoni and other jaw-dropping Tuscan locations.

Follow the trail of films shot in Tuscany and you will be surprised to find some hidden corners of Italy, the country that grows ever more into the world's first-choice theatre of stories, dreams and unforgettable excitement.

The voice-over felt like it was coming from a completely different film, and took a bit away from the expression of joy and celebration of the ballroom footage. Regardless, I'm glad this snapshot exists. Especially the shots of walking out to the street after a long night.

In the interior the luminous honey-coloured stone and the numerous windows combine to create a wonderful, tranquil atmosphere. There is great harmony in the play of light and some of the stones often take on a translucent glow. The light changes according to the season and the time of day, and the effect at sunset is particularly beautiful.

One of the most important examples of monastic architecture of the 13th century and by far the most important Romanesque building in southern Tuscany. The church we see today was built around 1100 and took the place of an older 9th century abbey, of which little is left.

Until the 14th century it was an important spiritual, economic and cultural centre, often in conflict with the Republic of Siena. The refined architectural elements recall a decorative richness with French influences.

I was intrigued to know what happened to the rest of the water. Where did it go after it tumbled over the edge of the Parco dei Mulini? As we left the village I noticed a rough track leading off the main road into the bamboo thickets below. I dived in and hoped for the best.

I remembered Instant Light: Tarkovsky Polaroids, a beautiful book of real size facsimile prints published in 2006, twenty years after his death. There are lots of images of Italy, many of them taken in Bagno Vignoni whilst he was staying at Albergo Le Terme, the hotel beside the thermal pool.

Many of the scenes in Nostalghia were filmed at Bagno Vignoni. Perhaps the most famous is the single long unedited take of a man attempting to carry a candle from one end of the empty pool to the other. He tries repeatedly to keep the flame alive until finally he succeeds, but he expires in doing so. This clip shows just the last five minutes of the epic nine minute take.

I heard later that it was Federico Fellini, the Italian film director, who recommended Bagno Vignoni to Tarkovsky as the place where visitors sit with their feet in the hot water and chat to each other.

The hot water collects in a basin of slippery white mud, with which the bathers were keen to paint themselves. The milky water smells sulphurous like rotten eggs, but it is said to cure everything from colds to arthritis and it also softens the skin. Here you can sit beneath a waterfall of healing spa water.

In this age of digital photography, Polaroids have become a neglected medium as well as one of extreme originality: no negative exists and therefore each shot is unique. Imbued with their own aesthetic flavour, the Polaroids possess a sort of nostalgic, almost vulnerable quality. The image cannot be reproduced, imparting a quality of preciousness.

The family who were managing the property for Anita welcomes him with great cordiality and hospitality, but they are concerned about their future if he sells the property and developers would move in and destroy the building and whole traditional area, and along with it their lives. Happily though, their son Mehmet (Mehmet Gnsr) is eager to show their handsome guest around.

Ferzan zpetek was born in Istanbul in 1959. In 1976, he decided to move to Italy to study Cinema History at Sapienza University of Rome. His directorial debut was Hamam [Il bagno turco] [Steam: The Turkish Bath], released in May 1997.

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