Best Movies Set in Venice


rialto_1Ever been to Venice? Ever get a hankering to be there, like, right now? Sometimes that happens to me. Today it happened to one of my daughters.

Last night I saw the new Star Trek movie. Not to ruin the plot or anything, but you find out (sort of) how the transporter technology was devised by Scotty. Wouldn’t it be great to be able to just beam yourself to a nostalgic place for a day? “Southern California too boring for you? How about Venice? Beam me up, Scotty!”

Unfortunately, there isn’t an iPhone application for that. I checked. (Apple, are you listening?) But there is another option, another way to “take you there,” and that is to select a movie that is set in Venice.

200px-ItalianjobSo tonight we’ll be watching The Italian Job. It’ll bring back pleasant memories of our leisurely time strolling the Piazza San Marco, shopping the Rialto Bridge, and taking in the half-believable vista of the Grand Canal.

Or not.

“The Italian Job is hardly a film to slow your heartbeat.” Agreed. So our recollection of Venice will be accompanied by a high level of manufactured adrenalin. Anything wrong with that?

The 1969 version of The Italian Job, starring Michael Caine and Noël Coward, is different in interesting ways. (This was Noël Cowards last movie.) In fact, it’s different in so many ways that seeing the 2003 film, with Mark Wahlberg and Charliz Theron, does nothing to make the 1969 film predictable. Fortunately, there is one great similarity, and that is the role cast for the Mini Coopers used in the heist. The two movies begin and end very differently.

Other options for movies set in Venice include Casino Royale (for it’s ending), A Death in Venice (not a happy film), Everyone Says I Love You (a Woody Allen musical), Indiana Jones and the Last Crusade (more action and adventure in Venice), Just Married (a romantic comedy), The League of Extraordinary Gentlemen (yep, the one with Sean Connery as Allan Quartermain), A Little Romance, (a comedy in which a 13-year-old American girl enjoys reading Heidegger!), The Merchant of Venice (Venice in 1596), Moonraker (James Bond movie #11, featuring Venice and a gondola/hovercraft contraption), Othello (take your pick: 1952 with Orson Welles, 1965 with Laurence Olivier, or 1995 with Laurence Fishburne and Kenneth Branagh), Pokémon Heroes (the fictional location “Johto” is supposed to be based on Venice), Sharks in Venice (for those who like implausible great white shark movies), Summertime (with Katherine Hepburn and probably the best cinematic exploitation  of Venice), The Thief Lord (co-written by children’s adventure novelist Cornelia Funke), The Venetian Affair (spy thriller starring Robert Vaughn and Elke Sommer, vintage 1967, and hard to find), The Wings of the Dove (“Venice has never been portrayed so beautifully, or romantically,” says Leonard Maltin’s 2007 Movie Guide).

Myself, I’ve seen exactly four of the movies on this list. Wanna’ guess which ones? I’ll send an Amazon gift card for $5 to the first person who gets it right, within 24 hours of this post. I’ll announce the winner—if there is one—at the end of 24 hours. (Setting my mobile phone timer . . . now.)

Good luck!

Oh, and by the way, you also have to explain why you picked the four you did AND tell me your favorite movie with a Venetian setting.

Run Lola Run: A Discussion Guide


Run Lola Run (Germany, 1998); directed by Tom Tykwer

Chapter 7 of my book, Faith, Film and Philosophy, is titled “What Would Have Been and What Could Be: Counterfactuals in It’s a Wonderful Life and Run Lola Run. The author is Jim Spiegel. Here are discussion questions for the film Run Lola Run that I’ve used in conjunction with his chapter.

  1. Are there any elements in the film that you didn’t understand or can’t explain? Write down what comes to mind?
  2. How would you explain the following: (a) the red hair, (b) the use of black and white, (c) the use of animation, (d) the rapid-fire photo shoots of people Lola encounters, (c) the breaking glass when she screams at different times
  3. The film depicts three possible scenarios. Between the first scenario and the second is a scene when Lola asks Manni a series of questions. She begins with the question, “Do you love me?” What is funny about this scene? What is the logic of her questioning? How does Manni respond? Do you think he should have answered her differently?
  4. Who are the people that Lola encounters during her race to catch up with Manni? What technique is used to portray their respective futures? Why are they portrayed in different ways from one scenario to another? What bearing does this have on the message of the film?
  5. Is there humor in this film? If so, what is its significance, if any, for the message of the film? Is this a comedy? If not, is the humor accidental (not intended by the producers or director) or incidental (not salient to the main message of the film)? Explain your answer.
  6. Between the second scenario and the third, Manni asks Lola, “What would you do if I died?” She thinks his question is stupid. Do you agree with Lola? Why would Manni ask such a thing? How is this bit of dialogue appropriate to the film? Is there anything significant about placing this scene here, rather than between the first and second scenarios?
  7. Does the fact that this movie is in German make the movie more enjoyable, or less? Explain your answer. What would be lost, if anything, if it was in English? Do you think you would enjoy it more, or understand it better, if you understood German?
  8. In the last scenario, while Lola is running with her eyes closed, and she doesn’t have the money, what is she saying? Whom is she addressing? Think about what happens next. Is this supposed to be related to her plea while running? If so, how?
  9. At the Casino, Lola gets incredibly lucky. At this point in the film, is that a surprise? Why or why not?
  10. There are places in the film where a group audience tends to respond with laughter. It’s as if there are cues in the film to laugh at these moments, and most people respond on cue. How does experience of a film in a group situation help in the process of understanding what a film is about, or what a viewer is supposed to believe or feel in response to a scene?
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