Showing posts with label Luchino Visconti. Show all posts
Showing posts with label Luchino Visconti. Show all posts

Thursday, October 10, 2019

ROCCO AND HIS BROTHERS (1960, ITALY), THREE BROTHERS (1981, ITALY), BEST OF YOUTH (2003, ITALY)

Renato Salvatori and Alain Delon 
in Rocco and His Brothers

Rocco and His Brothers is Luchino Visconti's contemporary drama about five brothers who move from poor Southern Italy to the North with their widowed mother and attempt to find some measure of success in life there. The movie is divided under five chapters, named for each of the brothers. The primary fraternal relationship of the story does seem to revolve around the hot-tempered second brother, Simone Parondi (Renato Salvatori) and the almost saintly third brother Rocco Parondi (Alain Delon). This is an epic and beautifully layered film that develops the relationships quite compellingly. It  is most deserving of being on a must-watch list and is quite gripping throughout its three hour running time.

Claudia Cardinale in Rocco and His Brothers

Claudia Cardinale Alert: Earlier in the life of this blog, I pointed out that Claudia Cardinale had appeared in many more "1001 movies" than her more famous contemporary, Sophia Loren. I actually missed that Claudia had a supporting role as the wife of the eldest brother in Rocco and His Brothers. I'll remember never to sell Claudia short again.

Nino Rota musical alert: Composer Nino Rota is most famous to many of us for his Godfather score. I can hear occasional reminders of the music of that film in Rota's score for Rocco and His Brothers.

Phillipe Noiret (Raffaele) and Michele Placido (Nicola)
in Three Brothers

We are also dealing with three Italian siblilngs in Francesco Rosi's Three Brothers (I prefer the Italian title, Tre Fratelli). Unlike, Rocco and His Brothers, the storyline for Three Brothers begins with the death of the matriarch, not the patriarch of the family. The tre fratelli come to be there for their father. We have the older Raffaele, who is an important judge presiding over a terrorism case. The younger brother Nicola, is a militant factory worker coming off a divorce. The middle son is named Rocco (And ode to the earlier film perhaps?). Rocco is the most enigmatic of the three and runs a boy's correctional institute. The relationship between the three is the heart of the film. Raffaele is a reluctant public figure, in that his dealings with prosecuting certain criminal figures may be putting his life in danger. Nicola is the emotional one, who holds nothing back and often suffers in his personal relationships. Rocco is the most reserved of the three. Nicola grills Rocco at one point in the film as to why he never has seems to have a girlfriend, naturally implying that he may be homosexual. This is a strong family drama and I think it makes a pretty good double feature with Rocco and His Brothers...
Brothers Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) 
look after mental patient Giorgia (Jasmine Trinca)

...Check that...We're going to have to make that a triple feature! The Best of Youth is an Italian drama from 2003 that was originally made as a mini-series, but did have a theatrical release at the time in two parts. The six-plus hour running time is honestly the main reason I put this one off until now. The main focus of the story is...two brothers! The story begins in 1966 and runs all the way until 2003. This big story does not lend itself to a concise plot summary, but the story of Matteo, Nicholas, their family, friends, loves, a mentally ill woman, politics and coping with death justifies its running time and was well worth my time.

Matteo and Nicola with their shared love 
Mirella (Maya Sansa)

Da questo giorno in poi fino alla fine dei tempi, senza che ci si ricordi: noi pochi, noi pochi felici, siamo una...banda di fratelli.
-William Shakespeare

Friday, April 28, 2017

EUROPA '51 (1952, ITALY), UMBERTO D (1952, ITALY), SENSO (1954, ITALY), OSSESSIONE (1943, ITALY)

THIS WEEK'S MOVIES

The dying son in Europa '51
 
"The neorealist films repeatedly show that unjust and perverted social structures threaten to warp and pervert the essential and internal human values- Gerald Mast A Short History of the Movies

The above quote about Roberto Rossellini really brings home my takeaway from Europa '51, a film about a wealthy couple living in European society whose life is changed by the death of their often neglected son. The wife's (Ingrid Bergman) life is changed, anyway. She begins to make some form of amends after her son's death by helping those less fortunate and those that are struggling and poor. She eventually gets put in a mental institution by her husband and the society unaccepting of her change. But many of those she helped still support her, and Rosellini (and hopefully the audience) clearly sides with the poor, working class and compassionate.
 
The loyal dog in Umberto D

The hard to please New York Times movie critic Bosley Crowther raved about Vittorio de Sica's Umberto D upon release calling it  "a comprehension of human feelings and fatalism that pierce the heart and mind." The film does strike me as having the same feel of de Sica's more famous The Bicycle Thief, but with an old man and a dog instead of a guy trying to make ends meet and his bicycle. I don't mean that comparison in a negative way. Umberto D is a truly moving and often heartbreaking film with an ending that should bring a tear to your eye. Spoiler: The dog doesn't die...but it's still sad.

 The insincere lover in Senso

It's interesting to see some classics listed in the 1001 book that I see for the first time in a complete and restored form without thinking about a particular movie was rarely seen like this until recently. Luchino Visconti's Senso went through a name change (Aslo known as The Wanton Countess), being released in severely edited versions and not released widely in the U. S. until 1968! There are lots of charms in this film in the restored form: romance, war, history, betrayal, compassion..and Alida Valli. Similar in theme and setting to Visconti's The Leopard, I would choose Senso, if you made me pick between the two of them.


"Body Heat 1943" in Ossessione

My favorite of all Visconti's films might be his early film Ossessione, the first of many adaptations of James Cain's The Postman Always Rings Twice. Rawer than the later Hollywood remake (though I like that film, too), this film is ugly (in a good way) and the characters seem like real and damaged people and there is certainly no nice ending in this one...In fact there isn't a happy ending in any of the films on today's blog...so are classics made, I guess.

Until next time...