not able to sleep a night before the exam, anxiety, what will happen, there are so many candidates, what are the question like, ok this was not so bad, oh she´s pretty should i approach her, should i ask her for a coffee, don´t look too much in her direction, pretend you´re looking around, oh she´s looking at me too, what is the job like this is my first time, anxiety, where is she it´s raining, there she is but not
As in most Olmi films, the parent-offspring relationship and the blooming of first love of young people tower. The end sequence is remarkable. The film ends with the clackety-clack sound of a stencil copier and no music. It is preceded by a significant and quixotic movement of clerks from one desk to another. Olmi communicates so much to the viewer without a word spoken. This will remain a great end sequence for me.
Una película sensible y humana. Olmi es un artesano de la vida al rebuscar entre la rutina el eco universal. Temas como el primer trabajo, el amor adolescente. El personaje del filme tiene una timidez que enternece, una que por cierto solo se manifiesta en la zona pública, más no en la zona íntima, espacio donde se comporta como el hermano mayor. Una película de situaciones simples aunque transcendentales en una vida
The Italian “economic miracle” brought unprecedented economic growth for Italy. No longer was there the dire economic plight to survive that characterized earlier Italian neorealism. Success, prosperity and the path towards a middle class life is paved for young Antonietta in the film yet happiness is still not apparent. Capitalism may be bring material prosperity, but tedious dehumanizing hierarchies persist.
Like poetry to me. In its simplicity Il posto says too much. Olmi succeds showing how dehumanizing big corporations can be: all those endless corridors, the monotony, the gulf between people. Terribly true and poignant. But what really captivated me in this coming-of-age film is how everything is shown through the expressivity of Panseri's eyes: naive, lost, scared, passionate. The last 20 minutes are unforgettable.
For his first fiction film, Olmi drew on personal experience for this wryly humorous work. Indebted to the neo-realist style, the anguish and loneliness of a young man who applies for an office job is examined. The film employs non-professional actors and the lugubrious features of Panseri in the lead role are reminiscent of Keaton as he gradually becomes aware of the boredom of the years stretching out before him...
The moments of happiness of life are the little things and the moments in when we expect something great may happen (projects, relationships, work, studies etc..), it's not a pessimistic thought that things will normally not be as we ideally expected, it's the reality, but we need to keep expecting those moments to feel alive.
I recently re-watched this film in order to recapture something I felt the first time I saw it. That simple beautiful poetry was still there. What I value so dearly is the film's quiet confidence that an audience can be spellbound merely by witnessing truthful human behaviour.
The height and depths of bittersweet. Olmi is a romantic, a poet, but he is also a realist. What I love about his work is that he is not an escapist instead he zooms headlong into daily life but with his particular light and grace that makes one see so much poetry within the mundane. The simplicity peels away the excess to bring out such moving real purity. I Fidanzati works as a balm for those left unrequited.
The entry of a young man into the system and in the people around him his future selves are presented. It's about rigid, defined life and a sense of moving forward inexorably without any awareness of where one is going. The film depicts nothing so much as banality but curiously has what seems to be a strong atmosphere of mysticism and hauntedness. These people are ghosts, even at their best moments. Masterpiece.