1945. Enrico Corsi, in Rome, reflects on his relationship with his eight year younger brother, Lorenzo Corsi, following Lorenzo's recent passing from a long and debilitating illness at age ... See full summary »
In an atmosphere of political tension when the French still control Algiers, an Algerian is killed on the beach and a French man who has lived in Algiers all his life is arrested for the ... See full summary »
In Italy, the gambler and professor of poetry Daniele Dominici arrives in the seaside town of Rimini and is hired to teach for four months in the Liceu replacing another teacher. His ... See full summary »
1945. Enrico Corsi, in Rome, reflects on his relationship with his eight year younger brother, Lorenzo Corsi, following Lorenzo's recent passing from a long and debilitating illness at age twenty-seven in Florence. Their mother passed away days after Lorenzo's birth due to complications from the childbirth exacerbated by illness. With their veteran father still in hospital at the time unable to care for the children, Lorenzo was taken in by Sig. Salocchi, the butler of a wealthy English baron, literally to be raised as his and his wife's son in privilege, while Enrico remained with their maternal grandmother in relative poverty. The brothers did not truly get to spend time with and get to know each other until 1935 when Lorenzo was on the cusp of adulthood. For Enrico, theirs ended up being a largely strained but still loving relationship. Despite growing up in wealth, Lorenzo, who longed for what Enrico had, namely a history with blood relations, was unable to cope with real life ... Written by
How this one slipped off the radar screen is beyond understanding. Against a very muted palette of tone on tone, in which the character Lorenzo's beige over-coat becomes a metaphor of his indefinite link with the beige walled world, director Zurlini weaves a fascinating story of two brothers separated at birth, who effect a tragic reunion in war torn Italy.
Marcello Mastiroianni here offers a performance of greater depth than "La Dolce Vita" (which is just as it should be)but it is youngster Jacques Perrin's "Lorenzo" which surprises.
His performance, (indeed the whole film) is a study in the power of the reticence, understatement and the unsaid. Mr. Perrin's eyes, particularly in the hospital sequences, speak those volumes and light those vistas that would be trivialized in dialog form.
An excellent film with a core of deep sadness, that avoids the fatal commercial trap of sentimentalism.
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