Giardino dei Finzi-Contini, Il (1970)

Nutzer-Bewertung:

7.7/10   

Regisseur:

Vittorio De Sica

Drehbuchautoren:

Joshua Sinclair (writer) and
Giorgio Bassani (novel)
(mehr)

Premierendatum:

16. Dezember 1971 (USA)

Genre:

Drama | Krieg

Plot:

In the late 1930s, in Ferrara, Italy, the Finzi-Contini are one of the leading families, wealthy, aristocratic...

Plot Keywords:

Italian History | Nazi Occupied Italy | 1930s | Italy | WWII In Italy

Auszeichnungen:

Won Oscar. Another 8 wins & 3 nominations

Nutzerkommentare:

Reversed

Besetzung

Lino Capolicchio	...	Giorgio
Dominique Sanda	...	Micòl Finzi Contini
Fabio Testi	...	Bruno Malnate
Romolo Valli	...	Giorgio's Father
Helmut Berger	...	Alberto
Camillo Cesarei	...	Micol's Father
Inna Alexeievna	...	Micol's Grandmother (as Inna Alexeieff)
Katina Morisani	...	Micol's Mother
Barbara Pilavin	...	Giorgio's Mother (as Barbara Leonard Pilavin)
Michael Berger
Ettore Geri
Raffaele Curi	...	Ernesto
Gianpaolo Duregon
Marcella Gentile
Cinzia Bruno	...	Young Micol
Alessandro D'Alatri	...	Young Giorgio
übrige Besetzung in alphabetischer Reihenfolge:
Camillo Angelini-Rota	...	Prof. Ermanno Finzi-Contini
Eugene Pomeroy
Joshua Sinclair		(as Gianni Loffredo)
Katina Viglietti	...	Olga Finzi-Contini
Martin Bormann	...	Himself (behind Hitler on balcony) (uncredited) (archive footage) (unconfirmed)
Rudolf Hess	...	Himself (Hitler Is Germany speech) (archive footage) (uncredited)
Adolf Hitler	...	Himself (acknowledges Hess) (archive footage) (uncredited)
Benito Mussolini	...	Himself (watches parade) (archive footage) (uncredited)
Julius Streicher	...	Himself (sits beside Hitler, partially visible) (archive footage) (uncredited)

Regie
Vittorio De Sica

Buch
Joshua Sinclair		(writer)
Giorgio Bassani		novel
Vittorio Bonicelli		writer
Franco Brusati		uncredited
Vittorio De Sica		uncredited
Alain Katz		uncredited
Tullio Pinelli		uncredited
Ugo Pirro		writer
Cesare Zavattini		uncredited
Valerio Zurlini		uncredited

Produktion
Artur Brauner	....	producer
Arthur Cohn	....	producer
Gianni Hecht Lucari	....	producer
Fausto Saraceni	....	executive producer

Originalmusik
Manuel De Sica

Kamera
Ennio Guarnieri

Schnitt
Adriana Novelli

Casting
Jose Villaverde

Szenenbild
Giancarlo Bartolini Salimbeni
Mario Chiari

Bühnenbildner/Ausstatter (set decorators)
Roberto Granieri

Kostüme
Antonio Randaccio

Maske/Frisuren
Anna Cristofani	....	hair stylist
Giulio Natalucci	....	makeup artist

Produktionsleiter (production managers)
Romano Dandi	....	production manager
Enzo Nigro	....	production supervisor

Regieassistenten
Luisa Alessandri	....	assistant director

Ausstattung (Stab)
Franco D'Andria	....	set dresser

Ton Stab
Max Galinsky	....	sound
Massimo Loffredi	....	sound

Kostüm und Garderobe (Stab)
Antonio Randaccio	....	wardrobe

Schnitt (Stab)
Eli Haviv	....	editor: english version

Musik (Stab)
Carlo Savina	....	musical director

Restlicher Stab
Noelle Gillmor	....	subtitler: English
Franca Invernizzi	....	production secretary (as Franca Santi)
Giorgio Treves	....	production assistant

Produktionsfirmen

• Central Cinema Company Film (CCC)
• Documento Film

Verleihfirmen

• Columbia TriStar Home Video (2001) (USA) (DVD)
• Cinema 5 Distributing (1971) (USA) (subtitled)
• Lorimar Home Video (USA) (video)
• Sony Pictures Classics (1996) (re-release)

Weitere Firmen

• Cine Audio Effects  sound effects and foley design

Alternativ:

The Garden of the Finzi-Continis (Canada: English title) (USA)
Garten der Finzi Contini, Der (Bundesrepublik Deutschland)

Länge:

94 Min

Land:

Italy | Bundesrepublik Deutschland

Sprache:

Italienisch

Farbe:

Farbe (Eastmancolor)

Seitenverhältnis:

1.85 : 1

Tonverfahren:

Mono

Altersfreigabe:

France:Unrated | Argentina:13 | Chile:14 | Finland:S | Sweden:Btl | USA:R | West Germany:12 (w)

Drehorte:

Ferrara, Emilia-Romagna, Italy

Firma:

Central Cinema Company Film (CCC)

Dialogzitate:

Micol: You and I are not normal people. For the two of us, what counts more than the possession of things - how shall I put it - is the remembrance of things, the memory of things.

Querbezüge:

Ausschnittsweise enthalten in The 79th Annual Academy Awards (2007) (TV)

Reversed

De Sica is celebrated as the man who brought "neo-realism" to film, one of the three or four philosophies that still vie as motivation for the film enterprise. It is the notion that though film necessarily artificializes, it is possible to start with truth and deliberately enhance it cinematic ally. Because he relied on class struggle, viewers mistakenly associate that with the essence of neo-realism.

His early work is much celebrated, but as he aged and added layers and nuance, his relatively simpleminded audience was lost. Here we have a later masterpiece, not generally regarded as such.

The basic story is of two Jewish families, the impeding brutality of fellow Italians and different approaches to life and love in the knowing face of doom. At that level, it has some charm and power.

But what he has done is to invert all the values and superimpose them on the originals. Its a common technique in writing, and found of course in the novel.

We have the obvious: a relatively small garden within which the inhabitants blithely create an artificial world while the real world grinds down upon them. The garden is in Europe, but it is also Europe.

As I say, That's obvious. Also common (far too common) is the placement of sexual mechanics in political mechanics as if one explains the other while they cause each other. Ho Hum.

But there are three other elements, and these I appreciate. While he is reversing things and overlaying them, he casts accordingly. The European fiction was that Jews were dark, earthy people. Hairy, monetary, shrewd, animal. Yet the actors who play the Jews are according to cinematic conventions of Aryans: light haired, light skinned, svelte. Their manner is similarly cinematic (and the Nazi/fascist movement was inherently cinematic): completely unconcerned about money and politics and instead concerned about poetry and idleness. Roles reversed: we know this for certain when the (Jewish) girl tells her (non-Jewish) suitor he is not her type; too communist and too hairy.

There's another, explicit inversion: the thing is a movie, but the anchor of reality within it is, well, movies. Three times. Plus our hero goes from Passover at his house where the family is singing something vapid to the Finzi-Continis where they are doing something movie-like" looking into a glass to see the future.

Third: we know this is not straight-on narrative, because the camera has a habit of drifting out of the narrative frame. Kar-Wai is the current master of this and for the same reason.

Naturally, underlying it all is that this is not the work of fascists or Nazis, but of Italians and Germans. Not few, but many, essentially all. Because of that one thing, I find this more powerful than "Schindler's List." Sure, his people were more demonstrably evil, but so are all his villains in his fakey worlds. It doesn't make it real if he shows real history in the same theatrical way. No, for real evil we have to see how ordinary it is.

Ted's Evaluation -- 3 of 3: Worth watching.