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| Nuovo cinema Paradiso | |
|---|---|
 original movie poster |
|
| Directed by | Giuseppe Tornatore |
| Produced by | Franco Cristaldi Giovanna Romagnoli |
| Written by | Giuseppe Tornatore |
| Starring | Salvatore Cascio Marco Leonardi Philippe Noiret Jacques Perrin |
| Music by | Ennio Morricone |
| Cinematography | Blasco Giurato |
| Editing by | Mario Morra |
| Release date(s) | 1988 |
| Running time | 155 Mins Italy 121 Mins Cut USA 174 Mins Director's Cut |
| Language | Italian |
| IMDb profile | |
Nuovo Cinema Paradiso (1988) is an Italian film written and directed by Giuseppe Tornatore. It was internationally released as Cinema Paradiso in France, Spain, the UK and the U.S.
It was originally released in Italy at 155 minutes but poor box office performance in its native country led to it being shortened to 123 minutes for international release. It was an instant success. This international version won the Special Jury Prize at the 1989 Cannes Film Festival and the 1989 Best Foreign Language Film Oscar. In 2002, the director's cut 173-minute version was released (known in the U.S. as Cinema Paradiso: The New Version).
It stars Jacques Perrin, Philippe Noiret, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio. It was produced by Franco Cristaldi and Giovanna Romagnoli, and the music was by Ennio Morricone along with his son Andrea Morricone.
Told in flashback, it tells the story of the return to his native Sicilian village of a successful film director Salvatore for the funeral of his old friend Alfredo, who was the projectionist at the local "Cinema Paradiso". Ultimately, Alfredo serves as a wise father figure to his young friend who only wishes the best to see him succeed, even if it means breaking his heart in the process.
The film intertwines sentimentality with comedy, and nostalgia with pragmaticism. It explores issues of youth, coming of age, and reflections (in adulthood) about the past. The imagery in each scene can be said to reflect Salvatore's idealised memories about his childhood. Cinema Paradiso is also a celebration of films; as a projectionist, young Salvatore (a.k.a Totò) develops the passion for films that shape his life path in adulthood.
Contents |
Plot
Famous film director Salvatore Di Vita (played by real-life film producer Jacques Perrin) returns home late one evening, where his girlfriend sleepily tells him that his mother called to tell him that Alfredo has died. It is made clear that Salvatore tends to shy away from committed relationships and that he has not been back to his home village, Giancaldo, Sicily, in many years. As she asks him who Alfredo is, Salvatore flashes back to his childhood.
The bulk of the film takes place in this flashback, which takes place shortly after World War II. We meet Salvatore, the mischievous, highly intelligent son of a war widow. Six-year-old Salvatore, whose nickname is Toto, discovers his love for films early and spends every free moment at the local moviehouse — Cinema Paradiso, where he develops a friendship with the fatherly projectionist, Alfredo, who takes a shine to the young boy and often lets him watch movies in the projection booth. Eventually he teaches Salvatore how to operate the film projector. The montage ends as the moviehouse catches fire — film in those days was made of highly flammable celluloid. Salvatore saves Alfredo's life, but not before the film reels explode in Alfredo's face, leaving him permanently blind.
The Cinema Paradiso is rebuilt by a citizen of the town, Ciccio, who invests his football lottery winnings in it. Salvatore, though still a child, is hired to be the new projectionist, as he is the only one in town who can run the machine.
The film abruptly jumps forward a decade or so. Salvatore, now in high school, is still the projectionist at the Cinema Paradiso. His relationship with the blind Alfredo has only strengthened, and Salvatore often looks to him for advice — advice that Alfredo often dispenses by quoting classic films. Concurrently, we see that Salvatore has started experimenting with filmmaking using a home movie camera, and has met, and captured on film, a new girl, Elena, daughter of a wealthy banker. We watch Salvatore woo — and win — Elena's heart, only to lose her due to her father's disapproval. As Elena and her family move away, Salvatore leaves town to serve his compulsory military service. His attempts to write her and keep in touch are fruitless, his letters are always returned as undeliverable. Upon his return from the military, Alfredo urges Salvatore to move away permanently, counseling him that the town is too small to enable Salvatore to ever find his dreams. Moreover, the old man tells him that once he leaves, he must pursue his destiny wholeheartedly and never look back — never returning to visit, never to give in to nostalgia, never to even write or think about them.
Back in the present, we understand that Salvatore has obeyed Alfredo but is now returning home for the first time since he left to attend the funeral. Though his hometown has changed greatly, he now understands why Alfredo thought it was so important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride and has left him something — an unlabeled reel of film and the old stool that Salvatore once stood on to be able to operate the projector.
Salvatore returns to Rome. At this point in the 123-minute release, he watches Alfredo's reel and discovers that it is a montage of movie kisses — footage from the old moviehouse that Salvatore and Alfredo had cut from movies way back in the day on orders of the local priest, who considered such scenes indecent. Salvatore is clearly moved by the gift's meaning — one last gift and one last kiss from his father figure.
In the 154-minute version of the film, Salvatore happens upon a young girl who so resembles the teenaged Elena that she must be a relative. Following the teen, Salvatore is reunited with his long-lost love — the girl's mother, and shares one evening with her. Afterwards, he strives to rekindle their romance, and while she clearly wishes it were possible, she rejects his entreaties, choosing to remain with her family and leave their romance in the past. We also learn from Elena that the reason they lost touch was because Alfredo asked her not to see him again, fearing that Salvatore's romantic fulfillment would only destroy what Alfredo sees as his destiny, to be successful. Alfredo tries to convince her that if she loves Salvatore, she must leave him for his own good, but she is unsure, and leaves Salvatore a note, with her new address and promise of undying love and loyalty. Salvatore never finds her note, and thus never finds her again, not for more than thirty years.
It then ends with Salvatore returning to Rome and viewing the film reel that Alfredo left for him, tears in his eyes. The mood is far more bittersweet, as Salvatore sees Alfredo as both the source of great love in his life — and great pain.
Reception
Cinema Paradiso was a critical and box-office success and is regarded by many as a classic. It is particularly renowned for the famous 'kissing scenes' montage near the end of the film. It won the Academy Award for Best Foreign Film in 1990. The film is often credited for reviving Italy's film industry which later produced Mediterraneo and Life is Beautiful.
Cast
- Antonella Attili - Maria (Young)
- Enzo Cannavale - Spaccafico
- Isa Danieli - Anna
- Leo Gullotta - Usher
- Marco Leonardi - Salvatore (Adolescent)
- Pupella Maggio - Maria (Old)
- Agnese Nano - Elena (Adolescent)
- Leopoldo Trieste - Father Adelfio
- Salvatore Cascio - Salvatore (Child)
- Tano Cimarosa - Blacksmith
- Nicola Di Pinto - Village Idiot
- Roberta Lena - Lia
- Nino Terzo - Peppino's Father
- Jacques Perrin - Salvatore (Adult)
- Philippe Noiret - Alfredo
- Giovanni Giancono - The Mayor
- Brigitte Fossey - Elena Mendola (Adult - Director's cut only)
External links
| Awards | ||
|---|---|---|
| Preceded by Pelle the Conqueror |
Academy Award for Best Foreign Language Film 1989 |
Succeeded by Journey of Hope |
| Preceded by A World Apart (award then called Grand Prix Special du Jury) |
Grand Prix du Jury, Cannes 1989 tied with Trop belle pour toi |
Succeeded by Tilaï tied with The Sting of Death |
| Preceded by Pelle the Conqueror |
Golden Globe for Best Foreign Language Film 1990 |
Succeeded by Cyrano de Bergerac |
| Preceded by Life and Nothing But |
BAFTA Award for Best Film Not in the English Language 1990 |
Succeeded by The Nasty Girl |
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