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It was the late night Tai Bo fitness commercial warning him that life comes to an end after 40 that prompted Peter Moore to chase a boyhood dream.
To go to Italy and seek out its celebrated dolce vita from the back of a Vespa. But it couldn't be just any old Vespa. Peter wanted a bike as old as he was and in the same sort of condition: a little rough round the edges, a bit slow in the mornings perhaps, but basically still OK. And it had to have saddle seats. And temperamental electrics. And a little too much chrome. The sort of scooter you'd imagine a sharp-suited, Ray Ban-wearing young Marcello Mastroianni riding. Her name was Sophia.
From picnicking in the Italian alps and rattling through cobbled hilltop to gate-crashing Frances Mayes's villa and re-enacting 'Roman Holiday', Vroom with a View is as much a romance as a travel adventure. For not only does Peter win the woman of his dreams, he falls for a side of Italy others rarely see.
Along with Sophia, of course...
At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.
"[This volume] will provide a useful tool, in particular for students seeking to learn about Sartre and existentialism but also or students exploring the application of philosophy to the understanding of cinema." - Douglas Morrey, University of Warwick