MovieChat Forums > I girasoliĀ (1970) Discussion > All the clocks in the movie say 6 o'cloc...

All the clocks in the movie say 6 o'clock


Did anyone notice throughout the movie all the clocks are right around 6:00? There's the scene near the beginning where the clock has stopped at 6. Then when she meets the Russian girl, it's 5 til 6, and she stays until 6:15. And at the end when the train is pulling out the clock says 15 til 6. There may be more scenes, but these are the ones that come to mind.

Knowing how meticulous De Sica is (and the fact that they mention the clock stuck at 6 in the beginning), I feel like there has to be some symbolism or deep meaning behind it. Does anyone have any ideas?

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A possible answer to my own question...

A clock stuck at 6 seems to symbolize their inability to move forward in life. At first it's a good thing, when they're young lovers oblivious of the passage of time & denying the existence of the war that will destroy their lives. Later, like when she meets the Russian girl at 6, she realizes the tragedy of her situation: years have passed and circumstances have changed drastically, but she has been dwelling on the love they once had. At the end, they are both at the train station at 6, symbolizing that despite the impossibility of their union, their hearts will forever be stuck in time at 6 o'clock like the first time the clock stopped.

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Yes, I noticed. One of those nice little threads that helped stitch the film together. I agree, it served as a poignant reminder of their honeymoon when the clock stopped and indicated that the sentimental connection to that moment can never be avoided or broken.

The film seemed to be thoughtfully constructed. When Antonio forgets his friend's wedding it foreshadows both his own mental affliction and his loss of memory regarding his own wedding. Even the 24-egg frittata seemed symbolic of something unfinishable despite their careless optimism and showed a hint of the something quixotic about Antonio that he would later succumb to. Nice film.


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