The Finest Poetry in Cinema



I mean, you don't go reading poetry expecting tightly written drama with a climax at the end, do you?

Tonight was my fifth viewing of this magnificent film. And just now, I'll make an aside to those have difficulty with it: You might want to pay attention if someone calls a film magnificent, and I don't mean to sound arrogant about my opinion.

I have a young friend to whom I make an effort to give advice sometimes. Well, that can get arrogant, or at least pretentious if I don't watch out.
I told him recently he should try to transcend style. I suppose if I have self-love at all, it is pride in being able to adjust to different styles, nationalities etc. in art, especially in film. Cheap way to travel, I calls it.

If you can just try a different way of experiencing films, and you can let yourself get into this film, and just let it happen to you, and quiet that damn thing inside us that gets in the way of really being alive, then the rewards of this film are truly great.

On repeated watchings of the best films, I have been drawn deeper and deeper into them. This time, I, a non-Catholic, was drawn into the beautiful religious sequences, such as the priest's repeated urgings to his people that love is the only way, and this is really all that God wants. Also, the "honeymoon" at the convent. Was this done with a bit of loving humor? Or was it telling of the spirituality of a marriage? And the adoption. Was there a bit of humor there, a loving con job, and yet given with a sacred reverence? To feel a bit of humor, and to feel the love in these passages as well, was a strange combination of feelings indeed !

Olmi's camera just adores his people. And the lighting, and use of color. Did you notice that there were apparently no night filters used in the twilight shots? He underlit the subjects just enough, and let the dimness speak for itself. Bold, to do that, I'm thinking.

Go through this film, pause in so many places, and you have paintings worthy of the name Renaissance, or whatever art period they resemble.

Well, jeepers Janowitz, I called you a troll in another post. Maybe you're not a troll, but please don't throw mud at this beautiful creation.

You don't have to sit there and let studios cram cinema down your throat. Open your mouth, and your heart, and take a bite yourself. It can be quite delicious.

It's several hours now since I watched it, and the intoxication is still with me.

Ciao!!

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Great review, stevem. I agree with all you have said. This is truly a magnificent movie, and even with the misfortunes visited on the main characters, in the end, uplifting. I loved the vignette of the newlyweds being conned in the most charming way and was enchanted with little Giovanni Battista. My cousin in Italy recently sent me a dvd entitled 'Gli Ultimi" (The Last). It's in black and white and is about peasant life in the Friuli-Venezia-Giulia region of Italy (my father's region). It was made before "The Tree of Wooden Clogs", and it is possible to see where Olmi might have drawn some inspiration, particularly in the scenery, from it. My cousin (she is actually married to my second cousin and is a cousin-in-law)assures me that this is the life my first cousins endured. Papa also had a very hard childhood during WWI in Northeastern Italy. My first cousins' stories sound like the stories Papa told us of his childhood. But the family was strong and close and survived intact, except for a brother of Papa's who died at 14 of starvation and Spanish influenza.

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Well said. This film goes beyond a mere pioneer village reeanctment of the lives of Italian peasant farmers. This is an experience that flows through you and feels lived through. The closest thing to a genuine piece of history burned onto film.


What a difference a day made, 24 little hours Bought the sun and the flowers, where there used to be rain...

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[deleted]

Good post - some good points - but I take some issue with your equating one's lack of response to the material to an unwillingness to open ourselves to it. I do like it when films beg for active viewing/effort (La dolce vita, for one). For what it's worth, I'm also a big Olmi fan in general, having enjoyed most of what I've seen. Having said that, I found L'albero damn near impenetrable. Tried my best to connect to the material, adjust myself to its sensibilities, and nada - to me, the film felt short of the genuine, unadorned poetry you claim to have found precisely because it kept hinting at the makings of a plot, exploring various situational causations/associations throughout, but never really going through with it. I think that's why I didn't find it especially engaging; it's not organic enough to subsist on poetry alone. (It does, I will concede, work as filmed, lived-in history, though.)

Still glad the film has so many fans. Here's hoping I like it more when I see it again!

I'll bet she's still got that silver dollar.

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calm down, it's just a movie







so many movies, so little time

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[deleted]

I have to say that all of the flowery language here does the movie a bit of a disservice.

I agree that Olmi loves his characters, and it's a great experience to see turn-of-the-past-century Italian farm life in such detail, but I'm sure that this film is meant to creep up on you and have more bite than you'd expect, albeit in a very low-key way. If you really think about it, as innocent and idyllic as it all may seem, it's a damning commentary on human society as a whole, with life in the farming village meant to serve as a microcosm of larger society and all of the hypocrisies and inequities and lack of empathy that we just take for granted. I mean, for all of the outward piousness and rote prayers and superficial cooperation, not a single neighbor raises a finger to speak up for the family that was unfairly evicted at the end. Not only that, no one helps them move or even just wishes them well. Instead everyone hides from the family's sight because it's considered a shameful thing to be evicted. The episode with the Catholic nun springing the adoption on the newlyweds also shows how this religious institution for all its supposed sanctity just sees the adoption of children as not much more than a business transaction. The couple will get the money that was left with the boy, and the family is meant to view the adoption as being beneficial not because the boy is going to bring love and happiness into the home but because he's a future working hand.

Sorry if I interrupted all of your dreamy reveries....

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