Hellen I like the storyline of this show,it attract me so much

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Kirpianuscus a love story. or a friend story. beautiful for the science to use the right tone about a delicate and painful problem. a touching portrait of parenthood. and its nuances. and its price. and its limits. after its end, the basic thing who remains, long time, alive in memory, is its special simplicity. delicate, convincing, touching. like a confession. with its lovely form of poetry of small, basic things. with the science to not be more than honest exposure of well known facts. for the flavor of personal story. and , not the last, as the expected film.

suhuso-1 Amazing how a simple, straightforward film shot in almost a documentary style can be seen in completely different ways by different people. The Keys to the House is a strangely moving, yet unsentimental tale about how real people react when confronted with both trauma and disability. Some stay and carry the burden. Others run away. We all think we would stay, but how sure are we? Once the decision is made to run, consciously or otherwise, how do we come back? When there is no direct contact, the avoided lessens in personal value; but does what we avoid truly go away? Do we really want it to? The main protagonists in the film are a disabled boy and the father who abandoned him at birth. Many reviews were judgmental of the father's rejection of a disabled child,although this was not a factor in the actual abandonment - both he and the boy's mother were teenagers when she became pregnant. The fact that she died giving birth to his child fed his guilt, imagined or not, that he was to blame for her death. He barely stayed with her mother and sister at the hospital to hear what happened to the baby.That reaction and his continued refusal to try to at least see his son, eventually raised by the mother's sister and her husband, smacks of fear and immaturity rather than cold-hearted rejection. He is introduced to us as the impossibly perfect Kim Rossi Stuart, an actor so beautiful we are immediately disdainful of him - did he leave because the child was not as perfect as he? We are suspicious of his motives in suddenly coming into the boy's life after 15 years although he is not the person to initiate contact. The boy's doctors have suggested that meeting his birth father may help speed effectiveness of the boy's developmental therapy, so he is literally cornered into it by the uncle, who against his wife's wishes arranges to have the father escort the boy to specialized therapy in Germany. It is clear that the uncle does this out of love for the boy, but why does the father agree to do it? In subtle ways, we see he is not without feeling for the boy - he is hesitant to touch him yet devours him with his eyes; as the story progresses, his contact becomes increasingly tactile - as one reviewer said, stroking him almost as if he were a pet.The choice of actors is brilliant for the same reasons another reviewer found unpalatable - in real life, disabled people can come from the most physically "perfect" human specimens - in this case the child's disability was as a result of birth trauma. The father is as emotionally damaged as the son is physically - they both seem to need each other on an almost primal level. It minimizes the intelligence of both the actor (Andrea Rossi)and his character Paolo, the son, not to recognize this. Mood swings and repetition do not negate a functioning heart or mind in Paolo; he is aware of more than we think. The actor Andrea Rossi (is he related to Kim Rossi Stuart?) is brilliant as Paolo; that he is also afflicted with muscular dystrophy makes his performance even more affecting. I reject the review that suggests this disability as the reason we should cheer his acting, however; MUSCULAR dystrophy does not affect the mind (Steven Hawking?) even if the director supposedly fed him lines off-camera, his innate ability (I thought he was ACTING the physical part) is what actually made Paolo believable as a character.As always, Charlotte Rampling is excellent as the mother of another patient in Paolo's hospital. She has taken on her daughter's disability as her life's-work. Yet even she is human and has wished to run away. The difference between the parents is that she continues to do, despite the occasional lapse. Paolo's father has to grow up and come to terms with the reality of the disability as well as his newfound love for his son as a person before they can move on as father and son. That he is willing to continue to try, after failing several times, is his most redeeming factor in the movie.

Donnie Zuo This intimately beautiful DVD cover impressed me among the disc sea two years ago, which made me buy it when my cinematic experience just shifted from blockbusters to other quality films.At that time, I hadn't the slightest idea of Michelangelo Antonioni and Charlotte Rampling, but I was rewarded by my intuition.Following the story of an once cold-hearted, immature father united with his handicapped son whom he left at his birth, this film depicts how the father and son got along with each other during the son's treatment.The two of them lived all by each other in a paternal tranquility during the therapy days when Nicole, Rampling's character played as a mother of a handicapped daughter, walked into their life and shared with Gianni her feelings for her daughter.That maternal relationship, as paralleled and yet quite different from Gianni's paternal one, is crucial for the self-realization of him.As for the title, I'm more willing to interpret it as "The keys to the Houses"---to the house of Paolo's uncle, Gianni's guilty past; to the house of the hotel, the father and son's intimate present; to the house of Gianni's, the heart-warming and happy future; most essentially, to the hearts of the father and son. It was the son's choice. It was the father's effort. They wondered between all those doors, striving for a end-result.As soon as Kim appeared first on the screen, I knew, "right now I'm watching the (not one of) most handsome man on the earth..." (Well, that's long before Brandon Routh came up with his superman. however, they are of different categories in which they reign respectively in my opinion.) Let alone the height, Kim's face is, judging from every angle, perfectly shaped and it has the magic to draw you instantly into the picture wherever your mind is wondering. That's been proved when years later I watched Antonioni's Beyond the Clouds in which a younger Kim with long hair was already capable of imprisoning my attention.I think one can easily understand the awkwardness you get when confronting with a handicapped child who always wears the same seeming smile whenever he's angry or sad, not to mention he's your once abandoned son.He's immature, not knowing where his hand should put to support a handicapped child or even a healthy one; he's delicate, bursting to tears when Paolo angrily wished to be sent to his uncle; he's withdrawn, never showing too many expressions on his face except Paolo did to him something quite silly...He gave this paternal character life.The film is elaborately made in every possible aspect. However, without obvious climax and twists and turns, this story took me floating on the calm development of the plot and yet kept me consciously touched.Surely this is not the first film about father and son or handicapped children, but the difference this film makes is that, instead of forcing you into the emotion with dramatic acting and moving episodes, it unfolds the feelings and daily interaction of characters as subtly as possible, making the story real and exquisite, like a documentary.That's why no tear of mine drops during watching. However, I was overwhelmed and introduced into living in the story.Usually I will write a review of exactly the same feeling as the movie conveys, but this time I didn't. I know, as for this one, it's too subtle to put into words. I didn't want to fail.

gradyharp LE CHIAVI DI CASA (THE KEYS TO THE HOUSE) is a brave, humble, simple, eloquent work of art. Director and writer (with Sandro Petraglia) Gianni Amelio has the courage to address a subject that is difficult for most viewers and has created one of the more tender love stories on film. Aided by an incomparably fine cast and a fine cinematographer (Luca Bigazzi) and composer (Franco Piersanti), he has found a means to touch everyone with a story that, BECAUSE of its subject matter, gives more insight into the human condition than almost any other film to date.Amelio begins his story quietly and progresses slowly, allowing the viewer to cope with the realities of the tale in a manner of comfort. In the opening scene Gianni (Kim Rossi Stuart) is meeting with Alberto (Pierfrancesco Favino) in a frank discussion about the status of Paolo (Andrea Rossi), the son of Gianni whom he has never seen, the child being born as his girlfriend dies in childbirth. Alberto and his wife have been caring for Paolo for fifteen years, loving him, admiring him, working with the fact that Paolo has cerebral palsy with he concomitant handicaps of distorted limbs but with a mind and heart completely normal. Paolo's doctor has informed Alberto that perhaps having Paolo connect with his birth father may aid his progress in walking normally and increasing his self-care. So at this meeting Alberto, regrettably, turns Paolo over to the hesitant Gianni, an appliances worker who is now married and has a new child.Gianni and Paolo meet for the first time, board a train to Berlin for the best Children's Orthopedic Hospital available. Very gradually the two begin to learn about each other; Paolo wants to prove he is self-reliant, Gianni wants to prove he is an adequate caregiver. In Berlin Gianni observes Paolo's intensive physical training, finding the boy's strengths and qualities and need for love. While Paolo is hospitalized Gianni meets Nicole (the brilliant Charlotte Rampling) whose 20-year-old daughter Nadine (Alla Faerovich) is severely physically challenged: Nicole has devoted her life to being at the bedside of Nadine and shares with Gianni the truths about parenting challenged children. Their conversations are sage and realistic and enormously touching.Gianni and Paolo begin to bond, to share their lives, to explain the fifteen year gap in their relationship, and Gianni agrees to fulfill Paolo's dream of going to Norway to meet Paolo's pen pal love Kristine. Along this 'road trip' the two ultimately face the idiosyncrasies life has offered each, they grow from each other and .... well, the ending is far too beautifully formed to spoil.Obviously the easy way to make this film would have been to hire actors to 'mimic' challenged characters, but it is to Amelio's credit and for our good fortune that he has cast unknown physically challenged youths in the pivotal roles. Andrea Rossi as Paolo is a revelation: he gives the kind of performance that is at once honest and yet delicately nuanced. Both Kip Rossi Stuart and Charlotte Rampling are extraordinary, each playing their roles without a trace of bathos. This film does not stab for emotional response; it simply allows connection with a story about the importance of human love and compassion and family commitment. I cannot recommend a film more highly. Grady Harp