★★1/2 A lady from her house, an American herself, inherits a mafia empire in Italy. That is the “concept” (not the “story”) around which you try to build a film. But there are other concepts in dance (“let’s tell a masculine story in a feminine key”, “let’s talk about loyalty between women”, “let’s make a crazy action film”, “let’s put real violent crimes because we have to show that the mafia is cruel”, “let’s include a romance”). The final ballet is completely uncoordinated: even if there are no shortage of funny moments, the general problem is that there are too many boxes to fill in and not enough relevance to do so. And this is one of the biggest problems of contemporary Hollywood: you have to look good with everyone and give, in each genre (even if you shoehorn everything) what that genre is supposed to demand, no matter how cosmetic it ends up. being for the “world” that the film proposes. The actresses work well, because after all nothing that goes wrong in the film is their responsibility, but The Heiress… only works as an extraordinary example of a film decided in an office, not in the head of someone who needs to tell a story .
