Cinema Paradiso - Movie Analysis Essay

Introduction

The film by Giuseppe cinema Paradiso is a clear paean to the motion picture as an art form, it is also a shared social reality, a way to express personal emotions as well as entertainment. The film is centered around a human relationship between an old gentleman who works as a projectionist in the local theater and a young village boy who he gives guidelines on the way of making films and about life in general. The film is presented as a reminiscence, and this is because the boy had become a renowned movie director and return to his village town when he hears of the death of the older man. And this led him to recall his childhood days and the bond that he had with the old mentor, the bond that is lasting and as durable and as lasting as the films shown during his childhood days. And this portrays a metaphoric connection between reality and the film, this is based on the persistence of each through time, and this is very vivid at the point of transcending death. The old mentor is now dead; however, the teaching that he gave the young boy still lives in the grown-up famous movie director. Just as a movie from three or four decades ago was made by, cast by and featured individuals that are now dead, but individuals who come to life whenever a particular film is shown once more.

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One of the most important components that express the Italian culture from this movie is neorealism. The movie or film in its self cannot be termed as neorealist since it does not deal with the kinds of social realism as well as social criticism that the neorealist cinemas did back then. However, there is a strong realist influence in the aspect of the movie, and even more straightforward, there is a strong love for neorealism as an influence to a generation of filmmakers who learned from the cast of cinema Paradiso or imitated it. The influence on the filmmakers comes similarly as that it did for the young boy in the film Cinema Paradiso, and they saw the film as being directed by a neorealist and the end of the war. Italy was in the process of rebuilding its country. Film Paradiso captures that process and assists spur it and maintain it long after the rebuilding of the country has passed. The young boy in the film is first exposed to neorealism in the movie context when he sees Luchino Trema. On the screen of the movies that he watched with his old mentor, on the screen, the film credits stated that the movie is not played by professional movie actors but by the real individual in real places, and this excited the young boy. Also, the boy can realize the individual from his village from the films. The response or the reaction of the catholic priest from the release of such a film can be symbolism to the objections raised or presented by numerous people at the first release of the film for many of these people saw the end of Italian civilization in such films as cinema Paradiso. The metaphoric sense of Cinema Paradiso to real life is further strengthened through the link of the real individuals in the film to the individuals in the boy's village.

The evocation of the film is not, however, unlike the dedication to indicate real life in real situations that spur neorealism. The relation amid the older man and the young boy might also be an homage to the robber and the bicycle, as well as their ride on that particularly stolen bicycle may be just the visualization of this. Over time the movies change, and the boy becomes a movie maker. And this reflects on the change in Italian culture. They become exposed to the outside world, and their way of doing this is altered, and the film cinema Paradiso represents this change in the Italian culture. The neorealism helps the young boy transition from viewing films and into becoming a filmmaker.

The film also indicates the influence the exposure to other civilizations had on the Italian community. From the film, it can be seen that the town priest had to censor all the content that the projectionist would cast and haver him cut all the scenes with sexual overtone or actors kissing. This was unacceptable. However, as time passes and the boys return to the village, it can be seen that the airing of the move had become less censored. The priest had lost control over the content in the films, and the cinema had gone into private ownership. Exposure to a new civilization had altered the way the Italians in that village saw life.

From the film, there is a very strong emphasis on change in the Italian way of life from the end of world war II up to three or four decades later. From the beginning of the movie, it can be seen that the people of Sicilian had a simple life and paid little attention to the modernization and almost worshiped the power of cinema as it depicted real people in their village. It can also be seen that change was highly opposed, especially by people in power, particularly the priest. The film showed that the people took what they viewed retally and constantly repeated the same film. However, change is inevitable, and as time passed, so did the country and the people in it. The old and rather tame romances are rejected, which paved the way for a new way of doing thing, and this is seen in modern Italian films. The Italian films are filed with passionate love stories and sexual scenes.

However, the changes may not be acceptable by everyone, but it is investable. As Toto, his nickname at the end of the film gazes to the now busy streets filled with color and cars; sadness can be seen all over his face. The most tragic or most shocking news of all is when the cinema is destroyed to make way for a park, which reflects the transition from the traditional or old way of doing ways to the modern or new culture and civilization. As the camera looks out from the theater carrying old mentor's (Alfredo) coffin to the burial grown, it seems like there are two burials taking place the Alfredo's and the old Italian ways of doing things. The cinema which symbolized the traditional way of doing things and the boy's figure of old ways gone.