Movie - Cinema Paradiso

Cinema Paradiso 

Cinema Paradiso (Italian pronunciation:  is a 1988 Italian film written and directed by Giuseppe Tornatore. It was internationally released as Cinema Paradiso in France, Spain, the UK and the U.S. It was originally released in Italy at 155 minutes but poor box office performance in its native country led to it being shortened to 123 minutes for international release. It was an instant success. This international version won the Special Jury Prize at the 1989 Cannes Film Festival[1] and the 1989 Best Foreign Language Film Oscar. In 2002, the director's cut 173-minute version was released (known in the U.S. as Cinema Paradiso: The New Version). It stars Jacques Perrin, Philippe Noiret, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio. It was produced by Franco Cristaldi and Giovanna Romagnoli, and the music was by Ennio Morricone along with his son Andrea Morricone. Told in flashback, it tells the story of the return to his native Sicilian village of a successful film director Salvatore for the funeral of his old friend Alfredo, who was the projectionist at the local "Cinema Paradiso". Ultimately, Alfredo serves as a wise father figure to his young friend who only wishes the best to see him succeed, even if it means breaking his heart in the process. The film intertwines sentimentality with comedy, and nostalgia with pragmaticism. It explores issues of youth, coming of age, and reflections (in adulthood) about the past. The imagery in each scene can be said to reflect Salvatore's idealised memories about his childhood. Cinema Paradiso is also a celebration of films; as a projectionist, young Salvatore (a.k.a Totò) develops the passion for films that shapes his life path in adulthood. Famous film director Salvatore Di Vita (played by real-life film producer Jacques Perrin) returns home late one evening, where his girlfriend sleepily tells him that his mother called to tell him that someone named Alfredo has died. It is made clear that Salvatore tends to shy away from committed relationships and that he has not been back to his home village, Giancaldo, Sicily, in 30 years. As she asks him who Alfredo is, Salvatore flashes back to his childhood. The bulk of the film takes place in this flashback, which takes place shortly after World War II. We meet Salvatore, the mischievous, highly intelligent son of a war widow. Six-year-old Salvatore, whose nickname is Toto, discovers his love for films early and spends every free moment at the local moviehouse — Cinema Paradiso, where he develops a friendship with the fatherly projectionist, Alfredo, who takes a shine to the young boy and often lets him watch movies in the projection booth. Eventually he teaches Salvatore how to operate the film projector. The montage ends as the moviehouse catches fire — film in those days was made of highly flammable nitrocellulose. Salvatore saves Alfredo's life, but not before the film reels explode in Alfredo's face, leaving him permanently blind. The Cinema Paradiso is rebuilt by a citizen of the town, Ciccio, who invests his football lottery winnings in it. Salvatore, though still a child, is hired to be the new projectionist, as he is the only one in town who can run the machines. The film abruptly jumps forward a decade or so. Salvatore, now in high school, is still the projectionist at the Cinema Paradiso. His relationship with the blind Alfredo has only strengthened, and Salvatore often looks to him for advice — advice that Alfredo often dispenses by quoting classic films. We also see that Salvatore has started experimenting with filmmaking using a home movie camera, and has met, and captured on film, a new girl, Elena, daughter of a wealthy banker. We watch Salvatore woo — and win — Elena's heart, only to lose her due to her father's disapproval. As Elena and her family move away, Salvatore leaves town to serve his compulsory military service. His attempts to write her and keep in touch are fruitless, his letters are always returned as undeliverable. Upon his return from the military, Alfredo urges Salvatore to move away permanently, counseling him that the town is too small to enable Salvatore to ever find his dreams. Moreover, the old man tells him that once he leaves, he must pursue his destiny wholeheartedly and never look back and never return — never returning to visit, never to give in to nostalgia, never to even write or think about them. Back in the present, we understand that Salvatore has obeyed Alfredo but is now returning home for the first time since he left to attend the funeral. Though his hometown has changed greatly, he now understands why Alfredo thought it was so important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride and has left him something — an unlabeled reel of film and the old stool that Salvatore once stood on to be able to operate the projector. Salvatore comes to know during his short stay, that the old Cinema Paradiso is being demolished to give way to city parking lots. As he looks at the proceedings, he recognises many of the people who he had seen in the younger days as a projectionist at the Cinema. Salvatore returns to Rome. At this point in the 123-minute release, he watches Alfredo's reel and discovers that it is a very special montage footage -the most recognized final scene- of this movie.