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Under the Olive Tree (1950)
"Non c'è pace tra gli ulivi" (original title)

6.9
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Title: Under the Olive Tree (1950)

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Cast

Cast overview, first billed only:
...
Francesco Dominici
Lucia Bosé ...
Lucia Silvestri
Folco Lulli ...
Agostino Bonfiglio
Maria Grazia Francia ...
Maria Grazia Dominici
Dante Maggio ...
Salvatore Capuano
Michele Riccardini ...
Il maresciallo
Vincenzo Talarico ...
L'avvocato difensore di Francesco
Piero Tordi ...
L'avvocato Gaetano Bertarelli
Attilio Torelli
Giacomo Sticca
Maddalena Di Tricchio
Giuseppina Corona
Angelina Chiusano ...
La madre di Agostino
Tommaso Di Gregorio
Giovanni Paparella
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Taglines:

A drama of shepherd love and vengeance by DE SANTIS, director of "BITTER RICE".

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Drama

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Release Date:

10 September 1950 (Italy)  »

Also Known As:

Under the Olive Tree  »

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Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The film was shot around the city of Fondi which was Giuseppe De Santis's place of birth. See more »

Connections

Edited into Giuseppe De Santis (2008) See more »

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User Reviews

 
Love, Greed and Revenge under the olive trees
30 August 2009 | by (Rio de Janeiro, Brazil) – See all my reviews

"Non c'é pace tra gli ulivi" (No peace under the olive tree) is a powerful neorealist film. It was filmed in natural locations in the mountains of Ciociaria (the homeland of Giuseppe De Santis).. The landscape and people mix harmoniously together in this film that tells a story as old as humanity itself. The rocky mountainous landscape adds an epic scope and an exquisite beauty to the film.

"Non c'è pace tra gli ulivi" tells a story of revenge and solidarity – A shepherd, Francesco (Ralf Vallone) after spending three years in the war (World War 2) and still more three years in jail, returns home. His old parents and sister had been left by themselves. A unscrupulous shepherd, Bonfiglio (Folco Lulli) had taken advantage of the state of chaos generated by the war to steal the flock of sheep that belonged to Francesco's family, leaving them destitute. And Bonfiglio doesn't stop at that – by way of threats and cajolery he forces Lucia, Francesco's fiancée, (Lucia Bosè) to marry him. Bonfiglio is a man on the rise, slowly imposing his will on the other shepherds – stealing, threatening and using force when necessary.

Francesco on his return finds his family completely impoverished, barely having enough to eat and his fiancée taken away by Bonfiglio (the same man that had stolen his family's flock of sheep!). But Francesco is not one of those men who put up with trouble without taking action. What will he do?

As you can see by my introduction, the story of the film is highly melodramatic, and the acting is also a bit exaggerated, but strangely enough this doesn't spoil the film, it rather stresses the strength of the story. The actors, the landscape and a story that seems to be taken from a Greek tragedy lend this film something almost cosmic and also very humanistic. Giuseppe De Santis's passion for his homeland and its people are shown in full force in "Non c'è pace tra gli ulivi".

Certainly "Non c'è pace tra gli ulivi" may not be not as truthful to reality as other neorealist films. Professional actors star in the main roles. Raf Vallone as Francesco and Lucia Bose (that two years earlier had been elected Miss Italy) could stand up as models for Latin beauty. And even Folco Lulli as the villain doesn't lose his humanity. In fact, one could say that "Non c'è pace tra gli ulivi " stems from the same sources that gave us Homer and Virgil. Following the classic patterns of the old masters, an old story of passion, greed and revenge is told.

The landscape, the dances of the shepherds, the songs, Lucia Bosè's beauty against the backdrop of the steep and rocky mountains of Ciociaria... enough said! "Non c'è pace tra gli ulivi" as well as other neorealist films of the time (for example, the classic "Riso Amaro" also directed by De Santis) caused a deep impression all around the world. Lima Barreto, a great Brazilian filmmaker, showed in "O Cangaceiro", filmed in 1953, that he had learned a thing or two with the Italian neorealist films.


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