★★ / DCP / A heartfelt first hour of a poor family struggling in the big city goes off the rails in its overwrought final two hours fixating on the sexual drama amongst two brothers and a prostitute, includes a vile rape, which blames the woman, empowers the rapist and emasculates the other brother, Rocco, who was in love, and cumulates in more heightened misogynist violence and warped melodrama.
Sep 17 Incredible Mastery and Control over the medium. Beautiful Cinematography. Perfect Editing except perhaps for the slightly indulgent pace. When you watch something far more technically mediocre like The Hateful Eight, you begin to appreciate the technical mastery even more. Cinematog, Edit, Mise-en-Scene..
Visconti’s passionate tale of five brothers, each introduced in an interesting episodic-like structure yet the film is a classic neorealist. The Italian’s melodrama feels over the top at times, but it works perfectly within the context of the film and plays out as a classic greek tragedy. There’s so much explosive power to Rocco that to me it represents Italian cinema at its most triumphant.
Talvez tenha que ver com a minha expectativa neo-realista, mas uma resistência se formou em mim a partir da cena de Batavia - lembro bem? - da roda de Simone e pandilha a Rocco e Nadia. Implausível, mesmo em contexto operático, não há sequer uma cena intermédia de uma primeira abordagem de Simone a Rocco, nada lhe adivinha este temperamento tão irascível, ainda para mais seu irmão, sob o mesmo tecto moram, acaba(...)
Très beau film réaliste et violent aux accents très envoûtants presque balzacien par l'ampleur de sa matière : le portrait de cinq frères dont les caractères divergents donnent prétexte à une critique constante d'une société érigée sur les principes du capitalisme. On ne peut que louer l'excellente interprétation d'Alain Delon qui savait encore tenir un vrai rôle, malgré un narcissisme dégoulinant. www.cinefiches.com
Immensely Italian and yet immensely universal. The persistence of cultural bonds and familial ties are tested amidst economic migration introducing a new world. Visconti portrays this in a Italian style and culture yet it's wholly imaginable to see this, and indeed it has been done, portrayed in any time or place amidst similar circumstances. The epic scale of Rocco ensures it's uniqueness.
My own disinterest in upholding family values prevents me from 'feeling' familial tragedies like this one; a lot could be avoided by breaking the sacred bonds. Visconti seems to be suggesting the same, in a finale that embraces the more level-headed brothers. A gorgeous epic, dark, encompassing, only a little bit silly, I'm more favourable to Visconti's earlier films.