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THIS WEEK IN THE TENTH DVD: "ESTER", by Raffaele Mertes

THE POWER OF BEAUTY

As a historical thriller, The Book of Esther tells the story a Jewish girl who wins the heart of Ahasuerus. And he managed to foil a plot that would have led to the extermination of the Jews.

The book of Esther is a page of the Bible written by women. Exceptionally feminine, because it tells of two brave women who have the strength to oppose the strict ceremonial and strict rules governing the court life of the Persian capital, where there Xerxes-Serse. The

two women - Vashti and Esther - are in the film by Raffaele Mertes faces, respectively, Ornella Muti, and Louise Lombard, two Mediterranean beauty. Large green eyes. Ester blue eyes. Queen Vashti - whose name in Persian means "beloved" - will have to suffer the humiliation of rejection, because it refuses to be treated as an ornament to be shown in court. Esther, the little Jewish woman who becomes queen, will challenge the king to oppose the first form of planned pogrom against the Jews by the blinds.

DVD.This Cover story unfolds in the magnificent setting of the court of Susa, a city chosen by Darius I as the capital of the great kingdom and endpoint the famous Royal Road which began at Sardis, an ancient city located on the shores of Asia Minor in the Mediterranean. The film describes with astonishing precision this palace of The Thousand and One Nights, in which they move harem eunuchs, women, beautiful queens and capricious, but also where you weave plots and intrigues, which often end in blood.

The great magician who rebuilds this fantasy world is John Screws, costume designer of international experience, the school grew by Enrico Sabbatini, one of the most prestigious artists of the costume that Italian cinema has ever given. Screws has worked on the costumes in films like Jesus of Nazareth by Franco Zeffirelli, Mission and Joffe's City of Joy, Jordan Brown Montaldo, works where the costumes "perform" their important part. Here, aided by Simonetta Leoncini, has been engaged in extensive research to restore the magnificence of the clothes, hairstyles and jewelry of the Achaemenid era, particularly happy period of Persian history.

The capital of a mythical kingdom

The first scene of the film provides an immediate idea of \u200b\u200bSusa as a prosperous city, in which goods flow into the markets from all over the kingdom, stretching from the Indus River in Sudan. Production designer Paul Biagetti draws architectural ideas to make the palace and the city from the information coming from archeology, history and the biblical account. Very little is left to the invention. The viewer is thrown into a world far away, mysterious and fascinating, but realistically reconstructed.

The sacred author has ever seen with their own eyes what it describes, or seems to have drawn to a source of first hand. The whole fabric of the book of Esther is related to the social and cultural environment Persian. The same key word Purim, the calling party connected to the subversion of fortunes for the Jewish people and that is still celebrated today, is clearly of Persian origin. Some years ago, was found in an archaeological dig a die on which was inscribed the word Puru.

Just great insights in the film spectacular Esther? Not only that. Meanwhile, the story of Esther is a historical thriller, a thriller that takes the reader well-designed with bated breath. Directed by Raffaele Mertes, here at his first work, accentuates this feature. Through skilful editing in parallel, leads on the story gradually discovering the parts played by various characters and keeping pending the final outcome of the facts.

is a jewel of balance and depth of the acting Fahrid Murray Abraham, the unforgettable Oscar for his portrayal of Salieri in the film Amadeus. Here is Mordecai, the scribe who reared as a daughter-granddaughter Ester Hadassa.

Equally valuable is the interpretation that Thomas Kretschmann, we saw him in Queen Margot and The Pianist, is the king Ahasuerus. The director accepts the tradition of ancient historiography, which describes the king Ahasuerus, usually identified with Xerxes as an eccentric and unstable. Kretschmann embodies the figure of the king playing with histrionic measure this aspect of his character.

But charming is the tenderness that the actor can express encounter with Esther. A love scene played on the first floor and on the symbolism of a rose, a gift that makes him to Esther Ahasuerus. The gesture of Esther hides the ancient wisdom of a woman who understands the power of her beauty.

Roberto Di Diodato