CINEMA, 35mm _ A miracle indeed. A mix of neorealism with Capra´s heart and Tati´s sens of humour. The first hour is pure pleasure, you won´t believe your eyes if your expect another "Umberto D". And it goes straight into cinema magic, where everything is possible. And everything does happen ! I´ve rarely seen a film where everybody leaves the cinema smiling like for this one. Francesco Golisano is unforgettable.
Brillante. Uscendo dal suo solito stampo neorealista De Sica propone una storia vivace, che si lascia prendere la mano dalla fantasia del proprio protagonista. Gli eventi si susseguono efficaci, divertenti e bilanciati, ripresi dal Maestro con un'abilità eccezionale, che realizza quelle scene belle e mai anonime, che un po' ti restano dentro. Vittorio si è seduto in regia ed ha insegnato cinema ancora una volta.
Ce conte philosophique mêle le réalisme au symbolisme, le comique simple à la satire sociale féroce, le tout traité sur un séduisant mode naïf. Ce film a fait date dans l'histoire du cinéma italien, lucide tableau social de l'après-guerre, nimbé de tendresse et de solidarité, entre poésie, réalisme et fantastique. www.cinefiches.com
restored 35mm. I was never close to Fellini's initial phase, inscribed in a more conventional realism, and only now that i know this movie i realized why. Fellinian "avant la lettre" but perfectly integrated in neorealism through an intermediary way, the fanciful comedy, the innovation of its scenography and staging is such that results in a film apart either in De Sica's work either in Italian cinema of that period.
The great humanist of celluloid tells a fantastic fairy tale. On the outset it’s a very simple story of the good poor against the evil rich, unashamedly optimistic and naive until the end (although the story gets some extra flavours when the poor turn out to be as greedy as the rich). Great storytelling nevertheless, and a very beautiful film, both visually and emotionally.
Primero está es gran personaje, dueño de un optimismo que logra calar en toda una comunidad. Es la fundación de un pueblo muy modesto pero digno. Llega entonces el enfrentamiento con la realidad, es decir, el pesimismo. Es la expropiación de los sueños. En respuesta, un milagro sucede. Es como si la fantasía fuese única forma para que los desválidos pudiesen ganar. Eso en un filme realista, hubiera sido imposible.
Miracle in Milan presents a bizarre fantasy version of fifties Italy. It's presented as a modern fairy tale - a Night of the Hunter for optimists. Throughout the imagery is striking and beautiful. Sadly however it doesn't quite work. The film is too soft-hearted and sweet to ever become a biting satire, and struggles to achieve meaning without a target. This is a shame as it remains compelling until the end.
I saw this film when I was a child and the image of the dancing statue has stayed with me ever since. I even started to think that i must have dreamt it - as no one seemed to have heard of such a film when i described. Really overjoyed, then, to see it again. Best surprise I've had in ages. Lovely (and that's the right word) film - in every way.
The tropes of silent cinema and the Golden Age of Hollywood musicals shine through almost every frame of Di Sica's vibrant energetic fable about a shanty town on the edge of Milan. Unfortunately this also means it is a film which starts overblown and then keeps expanding right up to its final explosion of magic realism. Stronger characterisation and a dilution of sentiment might have aged it a little better.