Cinema Paradiso
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A few years after World War II, eight-year-old Salvatore is the mischievous, intelligent son of a war widow. Nicknamed Toto, he discovers a love for films and spends every free moment at the local movie house, named Cinema Paradiso. Although they initially start off on tense terms, he develops a friendship with the middle-aged projectionist, Alfredo, who often lets him watch movies from the projection booth. During the shows, the audience can be heard booing because there are missing sections, causing the films to suddenly jump, bypassing scenes with romantic kisses or embraces. The local priest, owner of the cinema, had ordered these sections to be censored, and the deleted scenes are cut from the film reels by Alfredo and piled on the projection room floor, where Alfredo keeps them until he can splice them back in for the film to be sent to the next town.
Once back in present time, Salvatore realizes that he is very satisfied with his life from a professional point of view but not from a personal one, so decides to return home to attend Alfredo's funeral. Though the town has changed greatly, he now understands why Alfredo thought it was important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride and he left him something: an unlabeled film reel and the old stool that Salvatore once stood on to operate the projector. Salvatore learns that Cinema Paradiso is to be demolished to make way for a parking lot. At the funeral, he recognizes the faces of many people who attended the cinema when he was the projectionist.
There is a village priest in \"Cinema Paradiso\" who is the local cinema's most faithful client. He turns up every week like clockwork, to censor the films. As the old projectionist shows the movies to his audience of one, the priest sits with his hand poised over a bell, the kind that altar boys use. At every sign of carnal excess - which to the priest means a kiss - the bell rings, the movie stops and the projectionist snips the offending footage out of the film. Up in the projection booth, tossed in a corner, the lifeless strips of celluloid pile up into an anthology of osculation, an anthology that no one will ever see, not in this village, anyway.
i am just a kid. i've only been into movies for about 8 months and i know i have found my calling, my passion, and my life. in 10 years, will i still be insane and watch a movie every single day will i still go to the cinema with my best friend and my mom will i still spend all of my money of DVDs, just dreaming of having my own collection
Alireza Vahdani lives in Oxford, UK. He holds a M.A in Popular Cinema and, a B.A in Film Studies/ Communication, Media, and Culture from Oxford Brookes University. He is an Associate Lecturer in Film Studies at Oxford Brookes University. His research interests are Japanese period drama films, Italian popular cinema, classic American Westerns, and English linguistic.
Above all else, Cinema Paradiso is concerned with the love and magic of the cinema of the past, symbolized by the eponymous movie theatre central to the narrative. The memories of Salvatore (Jacques Perrin (1)) represent nostalgia for a time when the cinema was central to the collective experience of a country where 'things were starting over from scratch'. (2) Following the fall of fascism, liberation by the Allied forces and the period of reconstruction in the late 1940s and early 1950s, Italy moved rapidly from being a largely agrarian society to a modern consumer society. Brunetta argues that the cinema was 'the leading art of the cultural and social processes of postwar Italian life'. (3)
The edited version was awarded the Special Jury Prize at Cannes and subsequently won an Academy Award for Best Foreign Film. Not only did this success place Tornatore on the international map but it also seemed to signify that Italian cinema had regained its vitality. This so-called rebirth of the Italian cinema in the late 1980s is emblematic of the cyclical character of Italian cinema in general, which is often characterized by film historians as a series of crises and rebirths. (6)
As such, Italian film history is marked by 'golden ages' and it is one of these periods, the age of Neorealism, (7) which is the chosen setting for the first part of Cinema Paradiso. During the 1950s and 1960s Italian auteurs (8) were an inspirational force on the international art-house circuit, but from 1970 until the mid-1980s Italian cinema was considered by many critics to be moribund. Thus, even critics of Cinema Paradiso acknowledged its importance; Manuela Gieri, for example, described Tornatore's Nuovo Cinema Paradiso as a 'miracle'. (9)
As a fatherless child, Salvatore (Salvatore Cascio) loved the movies. He would abscond with the milk money to buy admission to a matinee showing at the local theater, a small place called the Cinema Paradiso. Raised on an eclectic fare that included offerings from such diverse sources as Akira Kurosawa, Jean Renoir, John Wayne, and Charlie Chaplin, Salvatore grew to appreciate all kinds of film. The Paradiso became his home, and the movies, his parents. Eventually, he developed a friendship with the projectionist, Alfredo (Philippe Noiret), a lively middle-aged man who offered advice on life, romance, and how to run a movie theater. Salvatore worked as Alfredo's unpaid apprentice until the day the Paradiso burned down. When a new cinema was erected on the same site, an adolescent Salvatore (Marco Leonardi) became the projectionist. But Alfredo, now blind because of injuries sustained in the fire, remained in the background, filling the role of confidante and mentor to the boy he loved like a son.
For lovers of Cinema Paradiso, widely regarded as one of the best foreign language films ever to grace American screens, this restored version is unquestionably a \"must see\". The magic and poetry of the original remain, but the added scenes fashion a different, more complete cinematic experience. For those who have never seen Tornatore's masterpiece, this is an excellent opportunity to view it for the first time. 781b155fdc