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Mediterraneo (1991)
"Dedicated to all those who are running away"
This film story is culturally valuable because of the ways in which it contradicts itself. The film's credits say that it is, "Dedicated to all those who are running away." A line of dialog reinforces this idea. Lorusso says, "In times like these, escape is the only way. To live and keep dreaming." And yet at the end of the film, Antonio, Lorusso and the Sergeant are all together again on the Greek island that they had wanted to escape so badly at the story's start. They escaped the war by accident. They escaped the reality of their desertion periodically with drugs, sex and games. But the film asserts that once a person allows a culture, a place, or a people to move them, there is no escaping it. Once a person finds beauty within a situation and makes a home out of it, the good feelings and ideals created in that context are forever within them. When Lorusso returns to the island many years after, he says of Italy, "They didn't let us change anything." His life on the island had given him an ideal for a compassionate existence, where people can grow and change, and when he didn't feel capable of achieving that in war-torn Italy, he "escaped" once again to the island where he had been happy.
The beauty of this story shines through because of its immense craftsmanship. The story would not have been so moving had the compassionate existence not been created by unlikely people in an unlikely place. The soldiers, the Sergeant admits early on, are a "platoon of misfits": a Bacchus-like Russian, a frequent deserter who wants to get back to his pregnant wife, a pair of goat-herding brothers from the mountains, a weak and feminine but ever-loyal Antonio, a man in love with Lorusso, and a man in love with his donkey. They are anything but soldierly, and their nationalistic feelings, if they ever had any, quickly wane. "I feel abandoned," one of the men comments. Lorusso says, "They left us here and here we'll stay." Staying on the island, early in the story, doesn't seem a very welcome proposition since "Greece is the Tomb of Italians" is written on the wall of the town. But the audience learns, as the characters do, that the townspeople are not only harmless but welcoming and warm. Beautiful cinematography and music ease the audience into a comfortable life on the Greek island along with the soldiers; their senses are our senses, their feelings our feelings, because the elements of film are so carefully crafted. The Sergeant's statement about the "poets, philosophers, warriors, and goddesses" from which they are all descended sets the tone for the film. Antonio recognizes the poet within himself, Vasilissa the goddess. The Sergeant is clearly a philosopher and Lorusso learns to project his warrior-like tendencies towards compassionate means, such as protecting his friends. The story, by allowing us to feel and witness such growth within such ordinarily quirky and believable characters, suggests that such a compassionate existence is available for everyone. The film is dedicated to the audience, who is allowed to escape within its beauty for a while, and come out knowing a little better what human compassion is capable of.
Ladri di biciclette (1948)
Self-Interest in The Bicycle Thief
This story begs the question: what would you do to support your family? It forces the audience consider poverty and unemployment, issues that we must confront even today. As we sympathize with Antonio, possibly attempting to justify his actions in our mind, we must then analyze the young thief who stole Antonio's bike, the cause of our frustrations from the beginning of the film, and give him the same sympathy. Perhaps he was only trying to feed his family as well. Nevertheless, that didn't give him the right to steal another's livelihood, to put Antonio's family at risk. In the same way, Antonio's desperation doesn't give him the right to potentially put another man's family at risk by stealing his bike. Owning a bike becomes the conduit through which selfish survival instincts allow man to exploit man. It also leads us to ask questions like: Does one society's need justify the misuse of another society? De Sica presents these questions to his audience by creating characters with which one can easily identify, and whose actions can be easily interpreted. It is through our reflections and interpretations that we can then know ourselves.
The most respectable aspect of De Sica's film mastery is the way in which he gives the characters of The Bicycle Thief dignity and personal values despite their disadvantaged situation. Antonio's friends who work all night collecting garbage, then help him search for his bike all day are the epitome of compassion and friendship. His wife, as well, in her giving efforts to secure a job for him, exemplifies great consideration. De Sica skillfully pushes the audience to consider the seed of arrogance within Antonio that drives his actions, while maintaining in him a man deserving of our understanding.
L'eclisse (1962)
"More a sensation than an idea"
This film is ultimately valuable today because its theme is inescapable. From the time that Antonioni created L'Eclisse, the world has grown no less materialistic and healthy relationships have grown no less dependent upon a strong sense of self and understanding of others. Although the alienation of the young people was caused by the threat of nuclear war, financial struggle and parental neglect of 1960's Italy, similar political, financial and familial instabilities can cause similar feelings among the youth of today. Technology continues to progress, and with it, one could easily argue, human communication declines. L'Eclisse argues that awareness of self and of the external motivations for personal desires is necessary for healthy relationships in such an environment. This awareness entails intense understanding of emotion: the human factor that connects us even in states of desolation and loneliness. Antonioni wrote of the film, "All I am capable of thinking is that during an eclipse even feelings probably come to a halt." Thus the eclipse is the connecting factor for the alienated characters of the film, proving at least that, by existing together, we are capable of union. Antonioni portrays what critic 'Hawk' of Variety Magazine referred to as the "eclipse of sentiments" masterfully in the final ten minutes of the film. The final montage is dominated by a slow movement from images of crossroads, a construction site, Vittoria's apartment building, and various unknown faces: all people, places, and things that have witnessed the development of Vittoria and Pierro's relationship. This montage ultimately creates "a sensation which defines the film" by relating seemingly unrelated things, proving the connectedness of life even within the context of L'Eclisse.
La dolce vita (1960)
A Parable of Futility
This story is culturally valuable because it shows us the lifestyles of "celebrities" and aristocracy and how standards are formed around those lifestyles. The story reveals a side of "the sweet life" that is often untold and unnoticed. It serves to remind us what is truly important, and to break up common illusions and misconceptions about the life of glamour. The final scene, in which the healthy young girl and Marcello, with his entourage of misguided celebrities, cannot communicate illustrates the distinction between the two and their value systems. The glamorous life is not the only thing about which Fellini reveals misconceptions: common understandings of love and religion are also shown to be ineffective and harmful. The scene of the planned "miracle" is one such instance that shows religious superficial and superstitious practices. In one instance, we are shown a group of the faithful ripping apart a sapling tree just because the Madonna was alleged to have appeared in its proximity. This story exemplifies many facets of humanity that are universal and timeless. The way the elements of style are used serves to increase the worth of the film and intensify the force with which its cultural value is presented. Many of the elements are used with such subtlety that we scarcely understand why we are feeling the way we do until the film is over and we have analyzed it. The dialogue is well-written and telling; however, the other elements of film style contribute as much to our sense of what the film means, if not more. The lighting, editing and sound present to us the aura of the film; alienation, loneliness, boredom, self-centeredness and misery.
Nuovo Cinema Paradiso (1988)
Bittersweet Tenderness in Cinema Paradiso
recognizes the ennobling effect movies can have on viewers, and then proves this maxim by inspiring tenderness in the viewer. Though the story aptly concerns itself with the bitter effects of war on a family, the modernization of small towns, the distortion of culture, and the loss of young love, its lasting impression is the positive effect a loving mentor can have on the life of an individual despite such hardships. Salvatore's adult life does not reflect much outlet for emotional development, so the audience can infer the importance that his childhood, particularly Alfredo, held for him and his maturity. This loving relationship is most poignant for the audience because it occurs between believable individuals. Neither Toto, nor Alfredo, nor their town is reflected as perfect. Rather, they are all shown to have their flaws, their pompousness, humility and crazy characters mixed in with their beauty, compassion and adoration. This film is well balanced and will warm any audience, at any time, with its ageless story of humanity, regret, growth and love.
The film style of Cinema Paradiso makes the audience feel the love between Toto and the other characters, particularly Alfredo. Lighting and sound create a storm whose ear-shattering thunder and bright lighting during Salvatore's life review make the audience imagine how deeply he's responding to what he has been told: that Alfredo has died. Also, close-ups of adult Salvatore's face during the same time reveal these deep emotions. The music of Cinema Paradiso is perhaps the most touching element of film style used. Throughout the entire film, variations of the same song are slowed down or sped up during fitting times, and played with varying instruments. This is highly metaphorical, revealing the connection between the bitter and sweet times of life and perhaps, the continuing influence of Alfredo's love throughout Salvatore's highs and lows.
Padre padrone (1977)
The Unsweetened Life of a Shepherd
This film story is culturally valuable because it shows that one man can acquire the wisdom to break the traditional cycle that manyperhaps centuries ofpeople had not. It is a story, therefore, that is greatly inspirational to anyone who has ever faced opposition to maturation, modernization or creativity. The use of detailed sounds and slow, simple camera movements force the audience's senses to follow Gavino's. When he is alone in the dark, we are alone in the dark. We see a close-up of a snake's poised, open jaw and fear it, just as he does. We hear the wind through the trees as Gavino's father trains him to recognize his location by it. Likewise, the many stream of consciousness scenes allow the audience into Gavino's mind. We also hear fragments of the thoughts of the schoolchildren, Gavino's father, the selfish townspeople at a funeral, and even the sheep Gavino milks. The use of such devices makes the audience take part not only in the physical pain and alienation that was part of a young shepherd's life, but also in the mental neglect and torture that followed. We feel abandoned, fed up, and triumphant as Gavino does. The most important aspect of this film, however, lies in the fact that while Gavino creates his own boundaries and frees himself from patriarchal slavery, he is still self-aware and doesn't turn his story into a fairy tale. He is not living in a mansion with a perfect wife and children at the film's end. Rather, the real Gavino is presented to the audience on the same lonely streets on which he began, looking content but imperfect. This story allows for the fact that there are still sad aspects to his life, and lingering effects to what he experienced. Likewise, none of his experience was sweetened: his life is presented as was, in a beautiful and moving way.
Amarcord (1973)
Being Oneself:Always an Act of Creation in Amarcord
This story is culturally valuable because it shows the beauty of meaningfully existing, unchanged, amid destructive and oppressive forces. When a peacock lands in the snow with its beautiful, vibrant blue and green feathers, it exemplifies beauty, simply existing, within harsh conditions. When trying to consider what the characters of this movie create, one may find it hard to say. That is because the point of the story is not that the characters of this small Italian town create any wondrous miracles or any world-altering advances, but rather that they maintain what they already have and admirewhich is their sense of community and individual compassiondespite oppressive odds. Fellini gives his audience mischievous adolescents, oblivious teachers, a "crazy" uncle, a humorous grandfather, an idealistic and extremely feminine beauty, a generous but sickly mother and her easily-angered husband dissatisfied workers, a story-telling lawyer, a prince, and a lying snack vendor. And none of these characters is ever treated inhumanely, or as being of any less value than any others. The uncle has an episode in which he climbs a tree and throws rocks at people who try to get him down, all the while yelling, "I want a woman!" Hours pass and the doctor who eventually comes to get him down remarks, "He has normal days, and he has not normal days
Just like us." This shows the compassion that allows such a peaceful beauty to exist. Through the interactions of these characters, Fellini allows his audiences to encounter a town, the families, a community, and the simplesometimes tragic and sometimes beautifullife that exists within it. This film is powerful because it is saying that one does not have to defeat oppression to be worthy of being a model, seen and honored. You have only to live, to be yourselfwhich means to createto be something powerful and moving.
Travolti da un insolito destino nell'azzurro mare d'agosto (1974)
Objectively Observing the Motions of a Preposterous World
Swept Away is criticized by Tania Modleski for poking fun at feminists. That is part of the film's accomplishment, though: Swept Away is culturally valuable for its ability to poke fun at everyone whose flaws warrant it. Wertmuller presents us with extreme characters in absurd situationscharacters we love to hate but who are still capable of moving us when they express sincere emotional tenderness and vulnerability. This story explores the ways in which political and economic divisions allow pig-headed people to treat each other. And it certainly doesn't support the oppression of women, as a short-sighted viewing of the film may suggest, because Wertmuller emphasizes the notion that relationships based on one's ability to dominate the other perpetually fail. Whether that dominance comes from political, economic, or gender roles, domination and subjugation create such mistrust in both parties that love cannot sustain itself. Wertmuller masterfully creates type charactersthe rich bitch and the vengeful Sicilianwho turn into human beings outside of society and touch the audience with their attempt and failure at love. The elements of composition, music and lighting are used in such a beautiful way that the audience is convinced throughout the couple's stay on the island that love is possible, despite the divisive odds against them, and so their fall is that much more saddening at the end of the film. And the often harsh dialog and action are Wertmuller's bright way of presenting a farcical tale to her audience, daring us to judge the characters lest we be judged.
Mimì metallurgico ferito nell'onore (1972)
Conjugal Codes and Double Standards
This story is culturally valuable because it depicts part of the life of one man in a very universal manner. Mimi is every man: he lusts, he is jealous, he is vulnerable, he wants job security, he has morals and he sometimes compromises them. At the same time, however, Mimi's predicaments are presented in such an exaggerated, humorous manner that they provide relief from the audience's own frustrations. On a more particular level, this film reveals the impact that the "mafia" had on Italian society at this time. Yet, even this is done in so humorous a way as to never seem upsetting. The bitterness of the events that take placethe loss of love, humiliation and misuse of women, the loss of value and the buckling of Mimi to corrupt social powersare given to an audience with enough comical sugar to allow it to go down easily. And although women are shown objectified and humiliated in this society, the men who do it are shown to be victims of their own absurdities and social traditions as well. This film both exemplifies the dangers of being narcissistic and acting rashly on jealousy and desire, and provides comic relief for a world plagued with problems.