"Rocco and His Brothers (1960)" Movie Review Essay & Film Analysis

Speaking about 'Rocco and his brothers', it is impossible not to recall Dostoevsky allusions lurk around every corner, in every actor's gesture, in every quantum energy content. Meanwhile, neither critics attempt to pin the impact of concrete actions does not seem to me quite satisfactory: all these identifications Rocco Myshkin, Rogozhin with Simone, and hereinafter referred to as - as for me, so clumsy and about very much. And yet there is an affinity undeniable, ontological, the cell for some, and because it is very difficult to isolate. It is, in my opinion, is that Visconti completely Dostoevsky rhymed fate of the family - with the fate of the country, the flesh of which this family is, moreover, not afraid frontal symbolism and kassandrovskih, self-fulfilling, but the people did not recognize the prophecies. Papa Karamazov Fyodor Pavlovich, greasy drunk and sensualist, personified the Fatherland, hateful sons of his tiresome and ugly authoritarianism - to the point that one raised a hand against him. And to destroy the Fatherland, aptly Bykov Dmitry Davidov, not daring valiant, not an abstract mental and not holiness - ruined his servility. Dmitry L. would still applied to him these things for identifications and analogies. .. however, to the case. Mother of Rosalia Parondi, archetypal Italian mamma - stupid, loud-mouthed, untidy and biased as Italy itself - no spine, no bar, no king in the head. But - strange thing - the sons treat her with tenderness, unreasoning, with an uncritical reverence, with awe and respect. It destroys them. By Visconti, with Parondi crumbles under the weight of the chicks have grown up, and unable to know from him fly. Italy fails in their vain attempts to build any significant state due to the fact that too clings acquired during the fatherless and arbitrary stranger parochialism.
Visconti artist was born with the instinct of statehood, which is quite natural and in tune with its literal, family pedigree dating back to Gian Galeazzo, duke of Milan, one of the most successful rulers of medieval Europe. His early films were collected by Italy, region by region, province by province, as did the king Victor Emmanuel: in 'Obsession' it without any kind was the artistic necessity wheeling their heroes on the roads of the country diagonally from southwest to northeast, from Latina to Ferrara, in the 'earth shaking' adds to his possessions Sicily, 'the most beautiful' moves to Rome, pulsing with the heart of the new Italy. Finally, in the 'feel' Visconti appeals directly to the history of the liberation struggle, already rather okarikaturennoy popular culture, it is in its own way exonerates the grotesque opera Garibaldi with his bravado helpless and cowardly warriors - exaggerating, aestheticizing, turning to the art of the highest standard and the justifying. "Rocco and his brothers' become the first in the filmography of the author's expression of disappointment Visconti, here he finally buries his statist illusion. This is probably why everyone without exception seen in 'Rocco' turns personal fate of the director, summing them up and even through suffering (albeit revised later) farewell to the cinema. The 'Rocco' Visconti first removes his native Milan, who before he was saving like a dessert. It removes hard, unvarnished and sentimentality. Milan patrician Visconti - a faceless operating margin, communicating Automobile Alfa Romeo ', dusty, badly asphalted road, mud and petrol current channel Naviglio, abandoned, overgrown dirtiest water aerodrome, where he died, crashed seaplane trials first lover Gianluca Visconti. The city changed the artist is converted to ugliness, until he was in their ivory towers, the city became accessible to all, while remaining indifferent to all, as a public girl.
only time the beauty of historical, princely, luxuriously-Opera Milan allowed to film the scene farewell explanation Rocco Nadia - hopelessly, endlessly painful, deadly desperate explanations on the roof of Milan Cathedral, between the forest of statues, under the overshadowing small arms Madonna explanation in which a sense of Prinos tsya in debt sacrifice, and this sacrifice is necessary to nobody, and the victim realizes it, but still - a breast on the thorns. Tom wrote about this scene, it is an opera, if we assume that the architecture - is frozen music, antique tragic if we consider architecture as a choir, polyphonic director's help, to sublime already at the limit of ringing emotions, stage very cleverly, almost fraudulently set (after Visconti take on leading roles actors Italians - and all down the drain, the cathedral would have crushed them with his weight, a foreign same indifference saves itself acting duo component). For me in this scene more interesting - for all its emotional hopelessness, it offers a way out - not a hero, but an artist. Finally realizing that the Italian quilt never sew into a single nation, any proportionate not to the Romans the time of Augustus, so Lombards times Signoria that useless successes in work and sports, as long as all thoughts of valor, of heroism, do not go out of the glory champions beyond, seen from the bell tower in the home Basilicata, that progress is only able to disfigure what is left of the great past - Visconti break with modernity. From now on, it becomes bytopisatelem magnificent former beauty of a bygone but still alive in his retentive memory for exquisite detail the hereditary aristocrat. This beauty and he will serve until the end of days - humbly, faithfully, reverently.

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