Director and co-writer Paul Weitz (Grandma) has always enjoyed the unusual and quirky in stories. Bel Canto is certainly in that group, though a good deal darker than the rest of his opus. Unfortunately, it is also clear he isn’t very comfortable in that area. He was constantly dragging this story back more toward the lighter side, which diminished its tension and credibility.
Normally, Julianne Moore (Maps to the Stars) would have overcome those issues and provided a performance to balance the lacks. Not in this case. Her Roxanne Coss is neither Diva nor wilting violet. And worse, she had no credibility as a singer. It is close, but her posture is all wrong, which ruined several key moments in the movie for me.
Ken Watanabe (Sea of Trees), as well, just never quite gains control of the story to give us someone to focus on, though he has nice interaction with Moore and Ryo Kase. Kase, more than these two, turns in a nice performance; perhaps the most believable of the cast.
The other half of the cast, the rebels, are all fine if not brilliant. The most interesting characters are Tenoch Huerta and María Mercedes Coroy who get to stand out by virtue of interactions with Moore and Kase.
Most of the movie issues are down to script and direction. There are powerful and interesting ideas in Bel Canto, but to absorb them you have to let go of reality and treat it as a near-surreal play. To really succeed it needed to stay more realistic. Without that there is no sense of threat and danger, not to mention loss. Weitz’s script is clear about what the story is from very near the beginning. For that approach to work we need to invest in the growing sense of connection and recognition of rebels as people without losing touch of the underlying realities. Koch’s character is intended as that interlocutor, but it just never comes together, at least not fully.
This is a movie for completists, whether for the director or the cast. I can’t say it is worth the investment solely on its own merits despite its message and reflection of current society.