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

Nobleman and esthete, Luchino Visconti took over from his highborn ancestors not only a luxurious state imperious character and refined taste. The internal emancipation, unlimited flight of fancy and full freedom in the means of artistic expression connected to it with a passionate belief that true poetry is born only of the reality. The truth of life as a starting point and source of the world the idea of ​​creating the most democratic trends in Italian cinema - neorealism. Marxist aristocrat himself as if woven of contradictions, Visconti keenly felt the duality of this world and the dialectic of life, managing to harmoniously combine incongruous, as reflected in his work.
A fan of Russian literature, and theater, Visconti dreamed of his own adaptation of "The Brothers Karamazov "and" The Idiot. " During a trip to Leningrad, he was asked to accompany a show him the place where the action is his favorite novels. In the imagination of the director began to emerge vague images, lined the whole fragments of scenes, the characters come to life ... And while Russia plans to remove it was not possible, Visconti reworked the script of his new movie based on the novel by Giovanni Testori "Bridge on the River Gizol'fi". Due to the amendments, a typical Italian family saga about the fate of fleeing the poverty of Sicilian immigrants who are trying to adapt to the patriarchal traditions cynical laws of the big city, suddenly acquired a recognizable ethics, intonation and structure of Dostoevsky's novel.
cruel, ambitious and realistic gigantic motion picture. Neo-realism in scenery is reborn into a developed industrial European power Italy. Outdated values ​​and a crisis of faith in the goodness. In "Rocco and His Brothers" was first designated favorite motifs further films Visconti family crisis destroyed the reality of fate and painful passion. The writers did not have to adapt anything - growing mega-cities were overcrowded "humiliated and insulted". Visconti wrote: "Decent Milanese society is so proud of its economic miracle, that he does not care about the unfortunate living close to such as Rocco." The film turned out not just innovative and topical.
With unerring instinct of the artist, the Visconti line up staging based on the nuances and details in the background who helped reveal the inner world of his characters. Sublime inaccessibility Rocco feelings in the scene bursting with Nadey passed the Duomo, with its soaring Gothic tracery of white marble and amazing inner strength - sophisticated, soulful, powerful tension in separation from all earthly things. Devil altar noble intentions! Rocco, solidified on the roof of the cathedral in his light gray coat with flour adamant in his eyes - the living embodiment of one of the many statues of saints, sadly looked down and barred with lancet arches and pointed spiers on the earthly world. Infernal Milanese neighborhoods emphasized doom the soul of his brother Simone. Sad, desolate and windless area under the gloomy sky. Massive, is forced by its own weight a bridge of roughly fitted stones. Fixed blur Falla lake. Simone in a black coat with a flabby caked with mud like sukrovichnoy dissolved in unbearable anguish and despair of the surrounding landscape, gradually losing the human form, and himself, in the darkness lubricating clot. Primitive true instincts.
Visconti did not recognize fakes. The film crew spent whole days in the urban slums and the gym. At the site the most severe discipline reigned. Alain Delon, obeying the will of the director, boxed three rounds in a row with a professional until he lost consciousness right during filming. Despite the enormous physical and psychological strain, the actor was eternally grateful to the director for the unique opportunity to fully disclose to the screen his acting talent. Brilliant Annie Girardot, who played in the film one of his best roles, recalled that Visconti was able to lead the actors, making them invisible to the role of the continuation of their lives. Acting almost on a subconscious level, he aimed at a more instinctive than conscious reactions, in full agreement with the characters played by the characters. Visconti demanded from them only one thing - "be" rather than "understand»
ennobling and elevating mass cinema to the level of high art, Visconti embodied on the screen a large-scale productions, the audience was presented a simple cathartic power of ancient tragedies.. The picture, which was released on cinema screens in 1960, hated censorship and worshiped the whole of Italy. The film, which he directed, was a work of art, but through it, he sought to show the truth of life. Without distortion and without cuts. The reality of feelings, the dreams, the reality of defeat. In this film, he managed to achieve the incredible depth of penetration into the reality to which he sought all his life. Perhaps this is why, when he was at the zenith of his fame, Visconti called his best films "La Terra Trema" and "Rocco and his brothers'. And for two years before his death, he admitted: 'If I could, instead of D'Annunzio would undertake to do another' Rocco '.

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