Bella Martha (2001)

Director:

Sandra Nettelbeck

Writer:

Sandra Nettelbeck (writer)

Release Date:

18 April 2002 (Germany)

Genre:

Comedy | Romance | Drama

Tagline:

In Martha's enchanted kitchen, more than the food is starting to simmer. With some special ingredients they just might discover a recipe for passion.

Plot:

When a headstrong chef takes charge of her equally stubborn 8-year-old niece, the tensions between them mount... until an Italian sous-chef arrives to lighten the mood.

Plot Keywords:

Chef | Cooking | Restaurant | Car Accident | Italian

Awards:

14 wins & 5 nominations

Cast

Martina Gedeck	...	Martha Klein
Maxime Foerste	...	Lina Klein (Martha's niece)
Sergio Castellitto	...	Mario
August Zirner	...	Martha's Therapist
Sibylle Canonica	...	Frida
Katja Studt	...	Lea
Antonio Wannek	...	Carlos
Idil Üner	...	Bernadette
Oliver Broumis	...	Jan
Ulrich Thomsen	...	Sam Thalberg
Gerhard Garbers	...	Herr Steinberg
Angela Schmidt	...	Frau Steinberg
Diego Ribon	...	Giuseppe Lorenzo
W.D. Sprenger	...	Noisy customer
Victoria Trauttmansdorff	...	Companion (as Victoria von Trautmannsdorf)

Also Known As:

Mostly Martha (International: English title) (UK) (USA)
Drei Sterne (Germany) (working title)
Martha (Germany) (working title)
Ricette d'amore (Italy)

MPAA:

Rated PG thematic material and mild language.

Runtime:

109 min | Japan:105 min

Country:

Italy | Germany | Austria | Switzerland

Language:

German | Italian

Colour:

Colour

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Argentina:13 | Australia:PG | Finland:S | Germany:o.Al. | Hong Kong:I | Netherlands:AL | Norway:A | Spain:T | UK:PG | USA:PG | Singapore:PG

Filming Locations:

Hamburg, Germany

Company:

Arte

Trivia:

Sergio Castellitto's German wasn't good enough so Frank Glaubrecht was brought in to dub his voice for the German version.

Goofs:

Continuity: When Mario and Lina get ready to cook dinner at Martha's apartment, Lina puts on her apron twice.

Quotes:

Mario: Why would she want to stay with her family in sunny Italy when she can return to cold and grey Germany to live there with a nut case like you?

Movie Connections:

Referenced in Film Geek (2005)

Soundtrack:

Let's Do It In A-Flat

Assured, intelligent, charming

A strange thing about the food: some of it, like the bird-cooked-in-pig's-bladder which Martha describes in loving detail in order to have something to talk about while she's with her therapist, sounds good, and perhaps even looks good, without being in the least bit appetising. You'd have to be mad to actually eat anything that's been cooked in a pig's bladder. But Martha is probably right aesthetically, if not in any other way: if she says the best way to cook the bird is in a pig's bladder, then you'd better believe it.

Martha is a superb creation. She's a good chef. (She may be the best chef of any film ever made.) When her boss sends her to a therapist, she talks about food and cooking, which interest her, rather than about herself, which doesn't interest her. She goes to therapy because her boss orders her to, and when her therapist (who's no fool either) asks her why she thinks her boss orders her to, she says, as though considering the question for the first time, that she doesn't know – and she clearly doesn't care, either.

When various people (her orphaned niece, an Italian cook) come along to disrupt her life, we're on her side in wanting her to retain control; and although these likable people DO successfully disrupt her life, she does successfully retain control; so everyone wins. And it's hard not to admire someone who can not only insult the philistines who eat at the restaurant where she works but who know how to do so properly. These people don't know how good they have it. I'd rather be insulted by her than flattered by some spineless flunky.

The script, word for word, and moment for moment, is as perfectly judged as one of Martha's dishes. The IMDb user who says of Lina: "She didn't cry when her mother died, but she was really upset when Martha forgot to pick her up. It wasn't her fault, it was the script's" merely shows how much his sensibilities have been coarsened by Hollywood cliché. In fact, the film shows genuine insight into the way people naturally react, not the way lazy screenwriters would like to train them to react. Lina reacts to her mother's death not with the usual screen histrionics but by not eating. Tears are reserved (as they are in life) for less important misfortunes.

This is an assured, intelligent, charming film. Even the use of music shows an unerring touch. I'm eager to see what Sandra Nettelbeck does next.