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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.
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 recognizes many of the people who he had seen in the younger days as a projectionist at the Cinema.
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 Cinema Paradiso is being demolished to give way to city parking lots. As he looks at the proceedings, he recognizes 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. It is of all the kiss scenes that the priest ordered to be cut out of the reels. Alfredo has spliced all the sequences together to form a single film. For the first time, it finally seems that Salvatore has made peace with his past.
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. It is of all the kiss scenes that the priest ordered to be cut out of the reels. Alfredo has spliced all the sequences together to form a single film. It finally seems that Salvatore has made peace with his past.


==Extended cut==
==Extended cut==

Revision as of 04:57, 8 August 2010

Nuovo cinema Paradiso
original movie poster
Directed byGiuseppe Tornatore
Written byGiuseppe Tornatore
Produced byFranco Cristaldi
Giovanna Romagnoli
StarringSalvatore Cascio
Marco Leonardi
Philippe Noiret
Jacques Perrin
CinematographyBlasco Giurato
Edited byMario Morra
Music byEnnio Morricone
Release date
1988
Running time
155 minutes (Italy)
121 minutes (U.S.)
174 minutes (director's cut)
CountryTemplate:FilmItaly
LanguageItalian

Nuovo cinema Paradiso (Italian pronunciation: [ˈnwɔvo ˈtʃinema paraˈdizo]) (translates as New Paradise Cinema) is a 1988 Italian film written and directed by Giuseppe Tornatore. It was internationally released as Cinema Paradiso in France, Spain, the United Kingdom and the United States. 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.

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. [1] This international version won the Special Jury Prize at the 1989 Cannes Film Festival[2] 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).

Shot in director, Giuseppe Tornatore's hometown, Bagheria, Sicily, as well as Cefalù on the Tyrrhenian Sea [3], and told largely in flashback to childhood years, 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.

Seen as an example of "nostalgic postmodernism"[4], 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.

Plot

During the 1980s in Rome, Italy, famous Italian film director Salvatore Di Vita (Jacques Perrin) returns home late one evening, where his girlfriend sleepily tells him that his mother called to tell him that someone named Alfredo (Philippe Noiret) 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 of 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 in the late 1940s. 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. In the several scenes of the movies being shown, there is frequent booing from the audience, during the "censored" sections. The films suddenly jump, missing a critical kiss or embrace. The local priest has ordered that these sections be cut out. They lie on Alfredo's floor. At first, Alfredo had seen Toto as a pest, but 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 Cinema Paradiso is being demolished to give way to city parking lots. As he looks at the proceedings, he recognizes 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. It is of all the kiss scenes that the priest ordered to be cut out of the reels. Alfredo has spliced all the sequences together to form a single film. It finally seems that Salvatore has made peace with his past.

Extended cut

In the 154-minute version of the film, Salvatore happens upon a young girl who so resembles the teenage Elena that she must be a relative. Following the teen, Salvatore is reunited with his long-lost love — the girl's mother, and shares one night making love to her. Afterward, he strives to rekindle their romance, and while she clearly wishes it were possible, she rejects his entreaties, choosing to remain with her family and leave their romance in the past. We also learn from Elena that the reason they lost touch was because Alfredo asked her not to see him again, fearing that Salvatore's romantic fulfillment would only destroy what Alfredo sees as Salvatore's destiny, to be successful. Alfredo tried to convince her that if she loved Salvatore, she must leave him for his own good, but she was unsure, and left Salvatore a note, with an address where she could be reached and a promise of undying love and loyalty. Salvatore never found her note (due to Alfredo's machinations), and thus never finds her, not for more than thirty years.

It then ends with Salvatore returning to Rome and viewing the film reel that Alfredo left for him, tears in his eyes. The mood is far more bittersweet, as Salvatore sees Alfredo as both the source of great love in his life — and great loss.

Reception

Cinema Paradiso was a critical and box-office success and is regarded by many as a classic. It is particularly renowned for the famous 'kissing scenes' montage near the end of the film. It won the Academy Award for Best Foreign Film in 1989. The film is often credited for reviving Italy's film industry which later produced Mediterraneo and Life Is Beautiful.

Cast

Awards

Trivia

  • Ranked #27 in Empire magazines "The 100 Best Films Of World Cinema" in 2010.[6]

References

  1. ^ Bondanella, p. 454
  2. ^ "Festival de Cannes: Cinema Paradiso". festival-cannes.com. Retrieved 2009-08-01.
  3. ^ Porter, Darwin (2009). Frommer's Sicily. Frommer's. p. 132. ISBN 047039899X. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  4. ^ Marcus, p. 99
  5. ^ Awards IMDB
  6. ^ "The 100 Best Films Of World Cinema". Empire. {{cite web}}: Text "27. Cinema Paradiso" ignored (help)
Wikiquote has quotations related to Cinema Paradiso.
Awards
Preceded by Academy Award for Best Foreign Language Film
1989 		Succeeded by
Preceded by
A World Apart
(award then called Grand Prix Special du Jury)
 Grand Prix du Jury, Cannes
1989
tied with Trop belle pour toi 		Succeeded by
Preceded by Golden Globe for Best Foreign Language Film
1990 		Succeeded by
Preceded by BAFTA Award for Best Film Not in the English Language
1990 		Succeeded by
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