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Family Portrait (1962)
"Cronaca familiare" (original title)

7.3
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Ratings: 7.3/10 from 511 users  
Reviews: 13 user | 3 critic

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Title: Family Portrait (1962)

Family Portrait (1962) on IMDb 7.3/10

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Cast

Credited cast:
...
Enrico
...
Lorenzo
Sylvie ...
Grandmother
Salvo Randone ...
Salocchi
Valeria Ciangottini ...
Enzina
Serena Vergano ...
Hospital Nun
Marco Guglielmi
Franca Pasut
Rest of cast listed alphabetically:
Miranda Campa
Nino Fuscagni
Marcella Valeri
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Storyline

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Plot Keywords:

based on novel

Taglines:

Years from now this is the film you will remember Mastroianni for.

Genres:

Drama

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Details

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Release Date:

28 September 1962 (Italy)  »

Also Known As:

Family Diary  »

Company Credits

Production Co:

 »
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Technical Specs

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Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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User Reviews

 
A fantastically poetic existentialist masterpiece; One of the ten most gorgeous technicolor films ever made
31 January 2001 | by (Los Angeles, CA) – See all my reviews

Phew! What a beautiful film! I'd rank this as one of the most awe-inspiringly composed and photographed color films of all time. You've never seen Mastroianni, until you've seen him in this film, walking around like an iconic black ghost in the darkly hued existentialist-to-the-nth-degree technicolor universe of post-war Italy created by Zurlini and legendary DP Giussepe Rottuno. What a stroke of genius to contrast the bleakest and most depressing of subjects possible with the most fantastically poetic and gorgeous technicolor cinematography this side of `Black Narcissus.' This is one of Rottuno's finest works ever: full of absolutely breathtaking deeper than deep blacks and colors that seem to have sprouted from some otherworldly weathered, neo-realist hallucination. And what timeless subtly paced, unerringly poetic, intelligent and completely uncompromising direction by Zurlini, the forgotten genius of Italian cinema, whose style in this film can be roughly described as a unique melange of neo-realism, Antonioni, Michael Powell, Jacques Becker, early Pasolini and early Bertolucci. It's easy to imagine how easily this story of a tubercular writer grieving the death of his younger brother through a series of flashbacks could've turned into not much more than a melodramatic tearjerker; yet in Zurlini's hands and through the incredible, tour-de-force performance of Marcello Mastroiani in the lead role, the Marxist-proleteriat-plight-of-the-poor sentimentality at the film's core transcends itself and becomes a deeply affecting, painful and ultimately cathartic meditation on death, despair, and the possibilities of redemption in the direst of circumstances.


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