Review of The Best Offer (2013) by Filipeneto — 19 Mar 2021

I am not a connoisseur of Italian cinema, but I was attracted to this film because it deals with works of art. And I am glad that I dedicated my time to it, as I discovered a truly remarkable film. The story centers on the figure of Virgil Oldman, auctioneer and collector, misanthropic and maniac who, suddenly, is contacted by a mysterious heiress, eager to evaluate and eventually auction off all the valuable stuff in his family home. It turns out that she suffers from a severe agoraphobia, so she never leaves the house nor lets herself be seen by anyone, a fact that leaves Oldman more and more fascinated. At the same time, the old auctioneer finds a series of mechanical pieces in the house, which he thinks belong to a disappeared baroque automaton that, if recovered, would have an absurdly high value.

Everything seems clear and transparent in this film, brilliantly directed by Giuseppe Tornatore... but the film dextrously hides its secrets and is not as predictable as it seems, although it is left to guess, as the end approaches. For the puritans, it may shock thanks to the lustful and obsessive passion allowed by the old man for a woman of age to be his daughter, or even granddaughter. But the fact is that Italian filmmakers address this type of passion quite a lot in their films and the story works wonderfully. In the background, there is a sub-plot involving a baroque automaton and the lack of scruples of an art collector, who is interested in buying valuable works at prices well below the value.

Geoffrey Rush is a veteran actor and excels in the role of the auctioneer. He knows how to be cool and aloof, arrogant and elegantly hieratic, and manages to gradually deconstruct it as the character's feelings change. It is worth watching this film to see the extraordinary work of this actor. Beside him, the young Sylvia Hoeks, whom I did not know and is excellent, in a complex role that requires a lot of voice work (she does not appear for a considerable time, and we only heard her voice) and a beautiful face. In the dim light, the equally hardened Donald Sutherland is impeccable in a supporting role. Jim Sturgess also does a remarkable job.

Technically, it is an equally very good film. Although it is discreet, and allows the history and work of the actors to have space to stand out, the interest in production values is high, starting with a magnificent cinematography, guided by Flavio Zamarion. With an artist's eye, he knew how to make the most of the beauty of the paintings and works of art, as well as the grandeur of the scenery, the filming locations, the landscapes, and create a film where visual beauty abounds and fills the eye. Light and color also work very well, giving the film an additional elegance. The choice of filming locations and works of art that were used in the film was, in a word, judicious, and the soundtrack, signed by master Ennio Morricone, is truly one of the best he has composed in recent times.