I continue to be moved and deeply touched by this beautiful film from Italy, and I never tire of watching it. I share the lives of Toto and Alfredo, the small Sicilian boy, who loses his father in the second world war, and the older man who runs the projector at the local cinema. Toto lives in a world of make believe, movies, adventure. His dreams take him away from the small Sicilian village where he lives with his mother and sister. Alfredo becomes for him a surrogate father, and the movies, his paralell existence. It is a deceptively simple film, which sweeps you up and carries you along. You never want it to end. And, when it does end, it is with such heartbreaking simplicity, I cannot help being moved to tears. Young Salvatore Cascio is a marvel as the small Toto, a mischievous, impish, adorable child. Phillipe Noiret is unforgettable as the sly and heart-warming Alfredo. You grow up with Toto, until he becomes a famous film director in Rome, and returns to the small village after many years for Alfredo's funeral. It is the story of life, lost love, devotion, friendship, and family. It is unforgettable.
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ccthemovieman-121 March 2006After seeing this special edition DVD which shows the entire 174-minute film (in addition to the 121-minute one that most of us had seen over the years,) my rating of this film was elevated. This review is of the longer "director's cut."
Most of the new footage involved the main's character's romance while he was a young man. The story then is continued years later when that character comes back to his hometown for a funeral and runs into the woman he was in love with but never was able to get for his own. It turns out to be a somewhat tragic love story.
The first part of the film, with Salvatore Cascio as "Toto" a young boy is a love story about two people sharing their love of movies: the kid and an adult "Alfredo" (Phillpe Noiret) who runs the local movie theater. Their love of film bonds them for life.
The word "love" is used repeatedly in this review because that's the dominant theme: the love people had for others and for the world of film, something all of us on this website share.
The second and third parts of the film are the above-mentioned love story of Toto (Marco Leonardi as an adolescent and then Jacques Perrin as an adult) and "Elena" (Agnese Nano/ Brigitte Fossey). The first third of this director;s cut edition is much livelier and interesting, frankly, than the last two-thirds. Although not boring, it does drag in a few spots but the longer version is better in the long run because it makes the whole story much more meaningful.
It's very nicely filmed and you get a real feel for the Italian people and their little town. The director of the movie, Giuseppe Tornatore, went on to make other great visual films, two of which I also like: Malena and The Star Maker.....but Cinema Paradiso, I believe, is considered his "masterpiece." -
paul2001sw-18 October 2012To those of us who live in places less beautiful than Sicily, and which have lost connection with their peasant heritage much longer ago, there's a natural appeal to stories from that island. 'Cinema Paradiso' provides a nostalgic look at post-war Sicily, and also of Italian cinema during that era; in the story of how progress led to television, the death of the cinema as a social institution and the individualisation of people's lives, it recalls 'The Last Picture Show'. There's similarity as well in the conflict between attachment to one's community and the desire to escape, although it lacks Peter Bogdanovich's film's sense of overwhelming claustrophobia. Indeed, the emotional temperature of the film is actually quite muted, in spite of the surface colour and vigour. I enjoyed it, but (especially in a setting with such a complex historical and political backdrop) it could have benefited from a shade more intensity.
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DrLenera20 February 2005It is by now well known that there are two versions of this film that differ greatly, the original 3 hour Italian cut and the heavily re-edited 2 hour version which was the version that charmed the world in 1989. It remains a wonderful experience, but the director's cut is so much richer, deeper, satisfying,well,everything. This review is of the director's cut which may not be the greatest film in the world but is my favourite film of all time ever since I came out of the cinema in which I first saw it in back in 1994 crying my eyes out. Never has a film effected me as emotionally as this one. Cinema Paradiso is many things- a touching story of a friendship, a wonderful portrayal of a Sicilian village, a loving tribute to the cinema, amongst other things, but the longer cut is I believe the most moving and romantic love story ever. For my money, you can forget Casablanca,Dr Zhivago,Titanic,Romeo and Juliet,etc {great as some of them are}, this is the one that does it for me.
Divided into three sections, it is the first section that was left almost intact in the short version. It is of course primarily concerned with the relationship between young Toto and the projectionist of his local cinema, Alfredo. It is full of delightful touches,such as Toto stealing a frame of film from behind Alfredo's back, or when Toto helps Alfredo during an exam so he can be allowed into the projection booth, or perhaps best and simplest of all of all Toto's spellbound face as he watches the footage that will be censored by the town priest. The cinema is portrayed as almost being the centre of life in the town Giancaldo in which the film is mostly set. The actual sequences set in the cinema are full of wonderful observation and even some belly laughs. There's the man who only goes to the cinema to sleep and is always awoken by kids, the couple who see each other for the first time because everyone else is cowering from Dr Jekyll And Mr Hyde, the old man who says "no, this is IMPORTANT" when everyone else "booos" the news-all human life is here, with more observations and insights than in any Mike Leigh film. This section climaxes in a scene which is simply magical, when Alfredo projects a film onto the wall of a house so everyone can see it.
As the film moves forward several years to show Toto as a 16 year old, the wonderful cinema scenes are still present. Who can forget the cinema usher telling off a group of young boys for playing with themselves while watching Brigitte Bardot and then sheepishly giving his own manhood a little touch? Director Guiseppe Tornatore also subtly reminds us of changing times, such as when television is first shown in the cinema. However, it is mainly concerned with Toto's {now called Salvatore} courtship of the girl he is in love with, Elena. No one who has experienced the pangs of first love can fail to respond to such scenes as Salvatore ranting on to Elena on the phone how much he loves her and realising he's actually been talking to her mother, or the beautiful first kiss and embrace in the projection booth {of course}.
It is in the final section, as Salvatore, now a great film director, returns to Giancaldo as a 50ish man to attend Alfredo's funeral,where the humour all but disappears {well, life gets more serious as one gets older, does it not?} and the pace does slow-be warned. It is possibly the most emotional hour of cinema ever, and was cut to about 15 mins in the short version. Salvatore's reunion with Elena, which also displays absolutely brilliant acting from Jacques Perrin and Brigitte Fossey, is so painful a sequence, as the two characters pour their hearts out to each other. As Ennio Morricone's love theme swells up {a truly heartbreaking piece of music},it ends up being one of the most beautiful love scenes ever filmed. Salvatore's reunion with his mother and his exploration of the cobwebbed, dilapidated, cinema are also extremely moving. As for the final scene, where Salvatore opens a certain gift Alfredo left him-well,there's been too many spoilers already in this review, but suffice to say it is matchless, simply matchless. It was moving in the short cut, but is three times more meaningful in the director's cut.
Cinema Paradiso has been called sentimental, but in the director's cut it is a darker, deeper kind of sentimentality. Maybe it is still "a love letter to the cinema", but it is also shows that obsessive love of something such as films can also result in sadness and regret. Think of what happens to Alfredo in the film, and as for Salvatore, well, his curse is that he has two loves in his life but success in one of them comes at the expense of the other. The uncut Cinema Paradiso is more then anything else about life and the effect of the decisions we make. O, and the greatest, most heartbreaking love story ever {have I already said this!} -
*DATo*16 May 1999Whether you are a professional or an amateur it is always wise to avoid superlatives with regard to a movie critique ... but I cannot. 'Cinema Paradiso' is simply the finest movie I have ever seen. Like many who have posted at this site before me I have seen it many many times. It reaches within me to places other movies have never reached and I have often wondered why. Perhaps it is because of it's simplicity. It contains no expensive special effects, it has no gratuitous sex or violence, it has no "multi-millon dollar per performance" actors that I know of, it is arguable whether it even has a story line, and yet it soars far above the nonsense that film makers are producing these days. It's characters are portrayed by each and every actor in award winning style and the music is not only beautiful but absolutely perfect for this film.
It is quite simply the story of a human life and it's tragedies and triumphs within the context of a vocation. A young boy matures and gradually learns the lessons of life, cultivates his passion for the cinema, and is rewarded with professional success; however, he remains unfulfilled for true love has escaped him only to return in the form of a gift of love which transcends time, space, and death to reveal at the closing of the film Toto's one true mistress.
A staggering triumph of both the cinematic art and of story telling and yet there may be found people who do not like this movie .... I tend to keep such people at arms length and maintain a wary eye fixed upon them at all times. -
darkside200330 January 2005I seldom watch Italian movies, (i saw it today for the first time) being Italian maybe i'm biased, but this one really stands out. A real masterpiece; i can't remember another movie so moving like this one, maybe Schindler's list; it makes you laugh and it makes you cry, yet it is so simple and straightforward. Maybe there lies its magic: no Hollywood superstars, no special effects, just pure emotions and feelings, love, fear, grief and regret, nostalgia for childhood and youth, memories of places and times that will not come back, memories of the loved ones. Some movies are there to entertain, some to scare, some to question. This movie is there to affect your feelings. Definitely to be seen.
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michaelsjmurphy29 November 1999Movies can wield a strange power over those who sit in the darkened seats of a theatre. The truly great ones manipulate your perception of reality, suspend your disbelief, and ultimately either alter or affirm your view on life. NUOVO CINEMA PARADISO is just such a movie. It is the near-perfect melding of direction, acting, script, sound track, and cinematography. Phillipe Noiret and Salvatore Cascio give the kind of performances usually associated with much more recognizable actors. The supporting cast looks like they could all be full-blooded Sicilians. The location shots add depth and realism to the entire production. Ennio Morricone's music is simply the most appropriate and emotive I have ever had the pleasure to hear in a theatre. Tornatore's script and direction are a joy, a breath of fresh air.
I will not spoil this story by repeating it, nor will I give away the ending, although it matters not a whit. I could disclose fully everything in this movie, and in seeing it, all my words would evaporate. There is nothing like the experience of sitting through it, becoming engulfed by it, and in the end, being changed. -
davspin25 December 2004Cinema Paradiso is a profoundly important movie because it deals with identifiable emotions/issues that could be considered universal on so many levels. The entire story is retrospective similar to Fellini's style as well as a love story that pulls in the viewer on an emotional level. The film also attempts to expose an inkling of Sicilian life, language,(different from Italian) and how "history" has intruded upon and shaped the mentality of the Sicilian people; to also show that traditional concepts of what is "moral" or right is not to be taken for granted because of the people and their particular history. For those who do not fancy history or non-fiction, the film attempts to educate the "outsider" not familiar with Sicilian history as it pertains to the WWII era. I watch it again and again and see more and more details that pertain to the story. I did see it on the big screen at a local theater back in 1991 and it was a hit with the audience. I have several scenerio that I think could make it more interesting and am very curious about the uncut version and what is different about it. Finally, the movie does make me cry because it is after all a love story and it is clear at the end that Toto (aka Salvatore)is still in love with Elena and that is why he never married or settled down "..to love one person. . . " as his mother says to him after his 30 year absence from home. The final scene of the credits also shows him looking at Elena again and the look on his face is telling. This film has many little "hints" that serve to inform the viewer and give just a little more info. about the story. Truly, one of the best films I have ever seen !!! These characters come alive and we feel like we know them--personally. Viva Giuseppe Tornatore for his masterpiece!
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caspian197812 February 2005Giuseppe Tornatore's Nuovo cinema Paradiso (Cinema Paradiso) is everything good about the movies. It is a story about love. The love between a Father and Son, an Individual and his home, and the love for the movies. Even if this is not your favorite film, if you are a filmmaker, you have no choice but to say this is your all time favorite film (if not one of the greatest films ever made). If only for the movie's ending, this is a great film. The ending answers all of your questions and completes the story. The missing love from a Man's life. The missing pieces to all the stories (movies) found and made into a whole. The final message from beyond the grave, the ending is perfect. If the musical score doesn't put you in tears, the amazing visuals will push you over the edge. This is what all movies should be about. Terrific.
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boblipton19 March 2020Is there any way for someone who has chosen the movies over life to write anything sensible about this movie for an audience who have made the same choice? I could talk about the way that Philippe Noiret's performance dominates the movie, but he is the only actor who plays his role from start to finish. Certainly, if Giuseppe Tornatore had set out to make a feature intended to win a Best Foreign Picture Oscar, he couldn't have plotted more cannily.
It is, after all, a movie about how we start out as small children, trying to make sense out of the world, with nothing to guide us but stories in the dark.... and in the end, we end up that way, nostalgic for a time when we were confident that some day all would be revealed.
Well, it hit all my buttons. Still, as I noted at the start, I chose the movies over life. -
ma-cortes5 March 2014Colorful and moving flick dealing with a wonderful friendship between a little boy and a solitary projectionist . However , being overly nostalgic , too sentimental and overwhelmingly sweet . Attractive and sensitive picture with stirring drama , ravishing cinematography and enjoyable musical score . A filmmaker (Jacques Perrin , he subsequently became a notorious director) recalls his childhood (Salvatore Cascio , Toto , who celebrated his eighth birthday during filming) , when he fell in love with the movies at his village's theater and formed a deep friendship with the theater's projectionist (Philippe Noiret who said all his lines in French) at Cinema Paradise . The director goes back home to his Sicilian village for the first time after almost 30 years and is reminded of his first love (Antonella Attili) .
It is an interesting celebration of youth, friendship, and the everlasting magic of the films . Nostalgic and sensitive picture with thought-provoking drama , ravishing cinematography and moving musical score . The picture contains drama and nostalgia completely wrapped in an agreeable story between a lone man and a boy . The flick relies heavily on the relationship between an older man and a kid , subsequently teenager , but this does not get bored or spoils the tale . Slightly overrated but excellent all the same time , the picture is enjoyable and entertaining , but overlong . The story is narrated with great sense and sensibility , the intelligent screenplay was written by the same Giuseppe Tornatore . Giuseppe's intention was that this movie should serve as an obituary for traditional movie theatres and the movie industry in general , after the movie's success he never mentioned this again. This excellent and enthralling picture ¨Cinema Paradise¨ was starred by extraordinary actors such as Philippe Noiret , Jacques Perrin and Marco Leonardi . Good acting from remaining cast , just like Antonella Attili , Enzo Cannavale , Leopoldo Triestre , Agnese Nano , Pupella Maggio, among others . Glowing cinematography with scenarios colorfully and stunningly photographed by Blasco Giurato who reflects splendidly the cinema , streets , square , village and many other things . Rousing as well as insistent score musical , including a continuous leitmotif from the beginning to the end ; being efficiently composed by the veteran master and prolific Ennio Morricone . The film won several nominations and awards , Oscar included .
This weeper picture was very well directed by Giuseppe Tornatore . He is a writer and director, known for making similar nostalgic films including good actors , such as ¨Malena¨ with Monica Belucci , ¨ The star maker¨ with Sergio Castellito , ¨Baaria¨ with Raoul Bova ; and ¨La Leggenda del Pianista Sull'Oceano" (original title) or "The Legend of 1900" or "The Legend of the Pianist on the Ocean with Tim Roth . Being his English-language debut feature titled ¨The professor¨ with Ben Gazzara . Cinema Paradise Rating : Better than average, well worth watching for exceptional cinematography , first-rate acting and marvelous score . -
rdmcflyers-952477 August 2019Absolutely one of the most beautiful, touching movies I've ever seen. Superbly acted by everyone and totally touched my heart. When he's watching the movie reel at the end I felt an overwhelming feeling of nostalgia, love and happiness for a time gone by when movie theaters were special places to go to lose yourself for a short time to something wonderful. A must see film.
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Atreyu_II13 August 2010This Italian motion picture achieved notorious fame, comparable to the equally famous and more recent Italian movie 'La Vita è Bella'.
Like that one, this one is also very good in its first half, but after that it becomes a movie of bad taste. That's really too bad, because this movie (and 'La Vita à Bella') had potential to be something big.
'Nuovo Cinema Paradiso' can be considered a homage both to cinema and films. It shows us the pinnacle of the cinema as an industry of entertainment and as an escape for those who go there to watch the movies, making them forget the hard reality of poverty and war. Besides the cinema's success, it also shows its progress, its bankrupt, its decadence and its sad ending.
This is a very simple film. However, simplicity doesn't necessary mean something bad. Plus, the brilliant and memorable soundtrack by Ennio Morricone adds lots of emotion to the film, particularly in its first half, which is without a doubt the best part of the movie.
One of the biggest charms of this movie is the fascination and enthusiasm of Salvatore (whose nickname is "Toto") on the cinema and the projectionist job. He wins the friendship of the local projectionist, Alfredo, who also teaches him all about that job. As you can tell, "Toto" is a very intelligent kid and a very quick learner. Plus, he is mischievous, cute and hilarious.
Of course, even the first half has its minor faults, such as the pranks of bad taste - for example, that pig who spits to the audience and the prank with a bug on the sleepy guy. Pranks aside, I also don't like at times the behavior of Salvatore's mother: she slaps him a number of times.
As for the good of the first half, well, just about most of it. And this without forgetting Salvatore's dumb classmate. He's a poor dumb kid who doesn't know what 5x5 is. Whenever he answers that question is hilarious, as each answer is dumber than the previous one. In the 3rd time, he goes as far as replying «Natale!» (which is "Christmas" in Italian) - when he said that, I practically died of laughter!
As for the 2nd half of the movie, most of it is wrong and seems quite rushed and forced. Salvatore is no longer charming as a grown up. The love story between Salvatore and the girl of his dreams is frustrating in all ways, not to mention that it's ridiculous that Salvatore spends entire months waiting for her to open the window as a sign that she fell in love for him. There is no comedy or charm as in the 1st half. An animal is stabbed. Salvatore joins the army. And Alfredo's attitude later is puzzling: forcing Salvatore to leave that town forever, never look back, never return (not even to visit, going as far as saying that if he returns he won't receive him in his house), never let nostalgia hit him and never to even write or think about them.
I clearly prefer "Toto" as a child than as a teen or as an adult. "Toto" is far more charming as a child. In fact, the moment he grows up, for some reason the movie looses its initial greatness.
Phillipe Noiret gives a great performance as Alfredo, but little Salvatore Cascio steals the show as little "Toto".
I never saw the Director's Cut version. And frankly, I've got no interest in watching it. It's about 30 minutes longer, making it a too long movie and it certainly makes one view the film differently, as many of the mysteries are revealed (which might not be a very good idea). I saw the shorter version which isn't even that short, as it is nearly 2 hours long. But I can handle a movie of 2 hours. -
marissas7510 June 2007Since "Cinema Paradiso" is billed as a joyful celebration of movies for all of us who love them, I am sorry to say that its charms were lost on me. Its story of young Salvatore "Toto" who discovers the magic of the movies through his friendship with projectionist Alfredo (Philippe Noiret) has potential, but too often falls prey to false sentimentality, muddled storytelling, and unbelievable characters. It got to the point where I thought that the remote Sicilian village wasn't even a real location, but rather a soundstage set (the piazza seems too big and tidy).
I watched the 122-minute version, not the 170-minute director's cut, but I still felt that "Cinema Paradiso" was too long, padded with innumerable "local color" scenes. The townspeoplewho are all stock comic characters, including a village idiotsit in the movie theater and react quirkily to the film they're watching. Presumably, this is meant to show how important the cinema is for them, bringing glamour and romance into their difficult lives. But since you never get a sense of what these people are individually like outside the movie theater, the contrast between real life and reel life isn't deeply felt.
Toto is not a very sympathetic character in any of his three incarnations. At first, he is an annoyingly impish, prank-pulling little boy; then a lovesick and wildly impractical teenager; then a successful middle-aged film director who seems to have no inner life whatsoever. (Evidently, the middle-aged Toto is more developed in the director's cut, but I don't know if I have the patience to sit through that one!) The movie's attempt at heart-tugging romance falls flat because Toto's love interest Elena is so poorly characterized--all actress Agnese Nano has to do is stand there and look pretty. Noiret is good, though, moving beyond the cliché of the "crusty but lovable mentor" to reveal Alfredo's deep bitterness and determination that Toto not make the same mistakes he did.
The famous ending montage of all the screen kisses that a conservative priest had censored is a lovely celebration of old Hollywood, but nothing that you can't find in the Academy Awards tribute montages every year. It also requires a major suspension of disbelief weren't all these prints lost when the movie theater burned down? The best scene in "Cinema Paradiso," coming closest to conveying just what's so special about the movies, is when Alfredo turns his movie projector to face the window and screens a film on the outside of a building. The beam of silver light shoots through the empty black air; for an instant, all is magical, illuminated, even incendiary. Unfortunately, instead of creating many more new and wondrous moments like this one, "Cinema Paradiso" mostly falls back on old plot devices and one-dimensional characters. -
I have seen this film at least a dozen times and each time I am carried away to a small village in Italy, where the dreams of a small boy come true and we can join his spellbinding journey. The Italian language (it is subtitled) adds to the film's beauty and music, the characters are so real you can almost smell them. I am absorbed into "Paradiso" each time I watch it, so that when it is over, I am shocked into the realisation that I haven't actually been anywhere except right there, in my theatre seat. I am not a huge "art house" film fan or indeed enjoy subtitled films (it is hard on the old eyes!) but "Paradiso" is a gem and is worth seeing again and again.
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This 1988 Italian film (released in the US in 1990), is back with a full 51 minutes added on. This seemed like a stupid idea...there was nothing wrong with the original. The directors cut (which was 1/2 hour longer) was considered a mess. Also, for this release, an extra 1/2 hour was added! I expected the worse. Well, I was pleasantly surprised that this 3 hour version is better than the 2 hour one.
This story follows the life of Salvatore. He's born in a tiny Italian village and we see him as a little boy in the 1930s, an adolescent in the 40s-50s and an adult in the 80s. It basically is about his love of movies and the one true love of his life--Elena. They are in love but she comes from a rich family and he lives in poverty. How can they be together?
POSSIBLE MINOR SPOILER IN NEXT PARAGRAPH!!!!
The cut movie in the US excised a lot of the Elena subplot and concentrated on Salvatore's love of movies. There's nothing wrong with that, but Elena disappears quite suddenly. This full version explains what happened between them and fleshes out the characters more. It also reveals a crucial surprise at the end.
The performances are all fantastic--especially by the gorgeous young actor playing Salvatore as a teenager. Elena is also stunning. The film has beautiful cinematography and a haunting music score. The 3 hours flew by for me. I didn't want it to end!
So...beautiful music, attractive stars, good acting, compelling story and some incredible romantic sequences. A must-see!!!!
Bring plenty of Kleenex though--I cried a least 5 times! -
phaneendrakumar5 February 2005This movie definitely is one of my all time best movies. Director Giuseppe Tornatore placed himself in the list of the best directors. The usage of an excellent background score is a trademark of his movies and this movie is not at all a different case.
He is also a master in getting best performances out of children and adolescents. Marco Leonardi was the pick of the whole cast. Also watch Melena for those trademarks of Tornatore.
The character of Alfredo is one of the most unforgettable characters. The way emotions captured in a camera is way beyond naturality.
Overall, this is a great movie with ultimate teamwork with everyone contributing. I just loved the movie very much. -
stevelivesey677 February 2021Genius, masterpiece, (insert superlative here). Tornatore's finest achievement is nostalgic and romantic in equal measure. Watch the long version, it adds a more perspective to the heartbreaking ending.
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krational6610 April 2020Youth is a kind of capital, and nostalgia only belongs to the old. When a world collapses, you always see some people crying and others smiling. It is always the young who laugh, for they look forward and see that the destruction of the old world means the birth of a new world. I don't know why, after watching "cinema paradise", the deepest picture in my mind is that when the cinema collapsed, the smiling faces of the young people, the thunderous applause filled the air of the small town, accompanied by the sigh of the old people. Heaven belongs to the nostalgic, because it is a simple and innocent ideal of the past. The past is a dream, that's why it's beautiful. Time will beautify all cruel things, to wear a hazy veil of pain. The old evert said to the young saverto, "you are so young, the world is yours. And I'm old. I don't want to listen to you any more. I want to hear people talk about you. "Such a sincere piece of heart, hidden, but all is a vision of the future. Only youth is always looking forward, in the long stream of time, is a little optimism and hope for the faith. So saverto left, with lost love and a broken heart, never to return. If there is no expectation of the eternal, then love is just a dream, but, leave that little expectation, life from then on to bear such a heavy cross. The immortal cross, how could savertu not understand? The 30 dazzling years in the movie are actually 30 365 days in real life. Cut out the banal, trivial, realistic details, so that the past 30 years ago is such a beautiful story. Unfortunately, that's just the story. Children always love fairytales. They have no past and have no time to remember their short life. They expect to hear the ending that the prince and princess live happily ever after. When young, is never to think, in fact, the end is just a beginning, and the real end, is writing behind the endless trivial and trouble. The king may also die in battle one day, leaving the widowed queen alone. Their children may be demented. Somewhere in the palace garden, love is rotting. One day, when all the people are old, only the wrinkles of the eyes are still flashing a little clear light, perhaps only then, is to write the real ending time. But everyone did not like to hear such stories, young people, happy to witness the birth of a new world, but do not want to go to the old world that was full of joy. When we go to remember, perhaps, our hearts have been old. I guess I do.
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Xstal10 January 2023The centre of attraction in the town, a screen where everybody gathers round, showing films in black and white, bringing joy, pleasure, delight, as the reels rotate, the story is unwound. Toto's mesmerised by all he sees and hears, the picture house is where he flees and cheers, getting in Alfredo's way, mischievous eyes so full of play, Father Adelfio, still collars him for prayers. As he gets older more distractions then appear, conscription, briefly ends all premieres, a girl captures his young heart, sends his pulse right off the chart, then comes the time, when he moves on, goes overseas.
Toto's growing up in a small town in Sicily, with the joys of cinematic adventure, amongst a group of characters destined to remain as set in their ways as those captured in Pompeii. But there's always someone to help you change direction, point you at the stars and help you on your way, you just need to find them and then listen.
Still as beautiful and as elegant as it ever was. -
rappy-6874125 May 2021The final scene is probably the best in the history.
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I so wanted to be engrossed by a film about a filmmakers romance with his villages movie theater and their projectionist. I wanted it to validate my own love of escapism, so wonderfully woven by incredibly directors who take us to such wonderful places that even our imagination couldn't have dreamed of. With such a grandiose name, the (lack of) family, village square, theater and boorish patrons fell short of endearing and, at times, fell short on many levels. Meaningful bits went on too long carried to 1970's made for TV levels by a overindulgent soundtrack. The actors played their parts, but with such inconsistent overdubbing, I felt for none of them. Yes the boy and projectionist bit was sweet, but not enough to carry the film. The older Totos' added no depth to the little boy. Conceptually nice and the scenes reenacting the crowds reaction to the theater and its limitations worked even if they were crude, but did we find a way to connect to movies as a character. I don't believe it was introduced until the final scene evidenced the character shunned from them by the church and I just couldn't relate, just like the film
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As a big lover of film, I am still kicking myself for not seeing this masterpiece any sooner. To me, Cinema Paadiso is one of the best films of the 80s and also the most moving, particularly in the final hour.
I have seen many visually stunning films, and Cinema Paradiso is up there as one of the most visually ravishing films I've seen. The cinematography and editing are outstanding, and the scenery still looks gorgeous with an epic feel to it. Cinema Paradiso, alongside The Good, The Bad and the Ugly and Once Upon a Time in the West, also contains one of Ennio Morricone's most haunting scores and it is also one of my favourites of his.
Cinema Paradiso is immaculately directed, has an touching, beautifully-written and honest script and a rich, compelling story that while it has an elegiac feel moves swiftly by draws you right in until the ending, which breaks my heart still after 5 times of seeing it.
The characters are very well defined, particularly Alfredo, and the acting is outstanding with Salvatore Cascio, Enzo Cannavale, Marco Leonardi and especially Phillippe Noiret particularly impressive. All in all, a masterpiece. 10/10 Bethany Cox -
christopher-underwood12 May 2022Many years ago I found the film not quite as great as almost everyone seemed to think but watching again today I still find it only just okay. It is wonderful in the first half and the cinema with the boy and his love of the clips, the cuts and the whole of his childhood, the projector, the man and his magic and his helping to as well. The splendid scenes of the cinema and the children and the adults are just as thrilling. As the boy gets older and falls in love it starts to get a bit too sentimental and later as him older it is really not as good at all. I find that the old cinema magic has gone and just too schmaltzy.
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xarraw10 December 2008Shortly as always; Acting isn't too good.. sounds that people produce seem artificial. This is a film about a boy growing up in the vicinity of a movie theater. On the background there is a war ongoing but the episodes of the film don't make much connection to it. Story is a bit boring at least from a Finnish point of view.. Only one or two episodes made me smile a bit but the humor isn't too intelligent. Maybe this film is good for some people that can imagine beyond what is shown. For me; characters didn't matter much. Music is more happy than melancholic and I could probably compose something more touching.. :D. Maybe this was a good movie 20 years ago but today you can see much better films with more atmosphere and with a better script.
-WarraX-