Review: Andrea Bocelli: Because I Believe

Score: B

Director: Cosima Spender

Running Time: 107 Minutes

Rated: NR

It's pretty much universally agreed that Andrea Bocelli has one of the greatest voices of any musician. He's a true one-of-one, and fans will find plenty to love in this documentary about his life. If you're not a fan, you'll probably become one, even if this is about as straightforward as they come.

Because I Believe covers Bocelli's early life in Tuscany, working on the family farm. He was visually impaired even as a child, being sent off to a boarding school for kids with similar challenges. An accident during a football match took away his sight for good. Even so, he honed his talents throughout his teenage years. Like many other performers before him, he gravitated towards music to impress the opposite sex.

But even with undeniable ability, success took a long time to find him. He spent much of his post-school years performing in piano bars and restaurants, making just enough to get by, but never thriving. After chance encounters with some of Italy's biggest musicians, and a victory at the Sanremo Music Festival, his career took off.

The film speeds through some of his down periods, including difficult relationships with family members, a divorce, and a split with a manager. But director Cosima Spender wisely doesn't dwell on Bocelli's blindness, instead sharing his experiences with depression and anxiety, as well as his love of horses. It's pretty much impossible not to root for this guy.

Sprinkled throughout are great performances, from his hometown in Tuscany to Madison Square Garden. The montage set to "New York, New York" is easily a highlight of the film. Bocelli receives praise throughout for a voice that bridges pop and opera, even though he was harshly judged by some of the old guard of the Italian fine arts world. He may not have adhered to tradition, but he gained millions of fans the world over.

Andrea Bocelli: Because I Believe certainly doesn't reinvent the wheel. At times it even borders on hagiography. But it's solidly constructed. By focusing on Bocelli's supreme talent and humble personality, the film is quite enchanting.

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About Kip Mooney

Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.