IMDb > The Garden of the Finzi-Continis (1970)
Il giardino dei Finzi Contini
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The Garden of the Finzi-Continis (1970) More at IMDbPro »Il giardino dei Finzi Contini (original title)

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The Garden of the Finzi-Continis -- Open-ended Trailer from Columbia Tri-star

Overview

User Rating:
7.5/10   3,769 votes »
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Up 6% in popularity this week. See why on IMDbPro.
Director:
Contact:
View company contact information for The Garden of the Finzi-Continis on IMDbPro.
Release Date:
16 December 1971 (USA) See more »
Genre:
Plot:
In the late 1930s, in Ferrara, Italy, the Finzi-Contini are one of the leading families, wealthy, aristocratic... See more » | Add synopsis »
Plot Keywords:
Awards:
Won Oscar. Another 10 wins & 3 nominations See more »
User Reviews:
Bittersweet and elusive... See more (32 total) »

Cast

  (in credits order)
Lino Capolicchio ... Giorgio

Dominique Sanda ... Micòl Finzi Contini

Fabio Testi ... Bruno Malnate
Romolo Valli ... Giorgio's Father

Helmut Berger ... Alberto
Camillo Cesarei ... Micol's Father
Inna Alexeievna ... Micol's Grandmother (as Inna Alexeieff)
Katina Morisani ... Micol's Mother

Barbara Pilavin ... Giorgio's Mother (as Barbara Leonard Pilavin)
Michael Berger
Ettore Geri
Raffaele Curi ... Ernesto
Gianpaolo Duregon
Marcella Gentile
Cinzia Bruno ... Young Micol
Alessandro D'Alatri ... Young Giorgio
rest of cast listed alphabetically:
Camillo Angelini-Rota ... Prof. Ermanno Finzi-Contini
Enzo Nigro ... Agente OVRA
Eugene Pomeroy

Joshua Sinclair (as Gianni Loffredo)
Katina Viglietti ... Olga Finzi-Contini
Martin Bormann ... Himself - Behind Hitler on Balcony (archive footage) (unconfirmed) (uncredited)
Rudolf Hess ... Himself - Hitler Is Germany Speech (archive footage) (uncredited)

Adolf Hitler ... Himself - Acknowledges Hess (archive footage) (uncredited)
Benito Mussolini ... Himself - Watches Parade (archive footage) (uncredited)
Julius Streicher ... Himself - Sits Beside Hitler, Partially Visible (archive footage) (uncredited)

Directed by
Vittorio De Sica 
 
Writing credits
Giorgio Bassani (novel)

Vittorio Bonicelli  &
Ugo Pirro 

Franco Brusati  uncredited
Vittorio De Sica  uncredited
Alain Katz  uncredited
Tullio Pinelli  uncredited
Cesare Zavattini  uncredited
Valerio Zurlini  uncredited

Produced by
Artur Brauner .... producer (as CCC FIlmkunst - Berlino)
Arthur Cohn .... producer: Documento Film
Gianni Hecht Lucari .... producer
Fausto Saraceni .... executive producer
 
Original Music by
Manuel De Sica 
 
Cinematography by
Ennio Guarnieri (director of photography)
 
Film Editing by
Adriana Novelli 
 
Casting by
Jose Villaverde 
 
Production Design by
Giancarlo Bartolini Salimbeni 
 
Set Decoration by
Roberto Granieri 
 
Costume Design by
Giancarlo Bartolini Salimbeni 
 
Makeup Department
Anna Cristofani .... hair stylist
Giulio Natalucci .... makeup artist
 
Production Management
Romano Dandi .... production manager
Enzo Nigro .... production supervisor
 
Second Unit Director or Assistant Director
Giorgio Treves .... assistant director
 
Art Department
Franco D'Andria .... set dresser
 
Sound Department
Franco Bassi .... sound mixer
Stefano Di Fiore .... restored version
Max Galinsky .... sound
Massimo Loffredi .... sound
 
Special Effects by
Enrico Catalucci .... special effects: S. P. E. S. (as E. Catalucci)
 
Camera and Electrical Department
Giancarlo Ferrando .... camera operator
Michele Picciaredda .... assistant camera
Giorgio Urbinelli .... assistant camera
 
Costume and Wardrobe Department
Antonio Randaccio .... costumer
 
Editorial Department
Eli Haviv .... editor: english version
Marisa Letti .... assistant editor
Carla Zamponi .... assistant editor
 
Music Department
Carlo Savina .... conductor
 
Other crew
Luisa Alessandri .... assistant to director
Noelle Gillmor .... subtitler: English
Franca Invernizzi .... production secretary (as Franca Santi)
Susan Jacobs .... publicist
Mario Milani .... script editor
Claudio Saraceni .... production accountant
Roberto Del Giudice .... voice dubbing: Helmut Berger (uncredited)
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
"Il giardino dei Finzi Contini" - Italy (original title)
See more »
Runtime:
94 min
Language:
Color:
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The film was a personal triumph for 'Vittorio de Sica', a director who had struggled to have a hit since Marriage Italian Style (1964).See more »
Quotes:
Micol:You and I are not normal people. For the two of us, what counts more than the possession of things - how shall I put it - is the remembrance of things, the memory of things.See more »
Soundtrack:
VivereSee more »

FAQ

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23 out of 26 people found the following review useful.
Bittersweet and elusive..., 22 May 2000
Author: jawills from Vancouver, Canada

In THE GARDEN OF THE FINZI-CONTINIS -- based on the autobiographical novel by Giorgio Bassani -- legendary Neorealist filmmaker, Vittorio de Sica, dramatizes the human cost of the `racial laws' gradually implemented against the Jews in Fascist Italy during the years 1938-43. The more Bassani's young middle-class Jewish protagonist feels the brunt of Mussolini's anti-Semitic edicts encroaching upon him, the more he feels drawn to the aristocratic Jewish Finzi-Continis' estate -- their Edenic "garden" -- and to Micòl, the family's beautiful young daughter. Psychologically, this compulsion seems to stem from a deep emotional attachment to a perpetually innocent, untroubled state of childhood, which both Micòl and her garden seem to represent. Throughout the film, there is a marked conflict between childhood and adulthood, between the distant past and the immediate present, between the act of retreating into a world of comfortable illusions and confronting a world of harsh and bitter realities.

I found this particular aspect of the story very fascinating, although too tantalizingly obscure and open-ended -- and thus, not quite as illuminating or fulfilling as it might have been were it more clearly explained. (This could the reason why some people find the film -- and its heavily symbolic, impressionistic style -- a little confusing and underwhelming.)

For Giorgio -- both the naive hero and wisened author of the story -- Micòl embodies the mystery and allure of the Finzi-Continis, as well as their insularity and their apparent passivity in the face of the escalating Fascist crackdown. She always appears distant and unattainable, with no obvious reasons for her actions, and never really provides a direct, comprehensible explanation for her insistent rejection of Giorgio or for what appears to be a subtle streak of cruelty towards him. Her conversation with him always seems deliberately vague, and her refusal to make any further connection with him has a curious, almost perverse kind of fatalism about it. Again, this is another feature of the film that is certainly intriguing -- and strangely seductive -- but, alas, never quite pays off enough to become fully understandable to either the protagonist or the audience. When the Fascists finally do arrest the Finzi-Continis and confiscate their estate it comes as something of a surprise. The muted and deliberately spare representation of these characters and their feelings, as evidenced in their unusually restrained behavior, is meant to isolate and heighten the impact of a few devastating strokes of sudden realization and lucidity -- pointed indications that the protective spell of the Finzi-Continis has been finally broken.

All in all, well-acted and gorgeously, languidly poetic in its imagery...yet, narrative-wise, the picture seems overly elliptical and ultimately opaque -- and leaves just a few too many rough fragments and loose ends lingering at the end of the story (not quite Proustian irony, maybe?). In spite of this peculiar drawback, the film finishes very effectively, and by the final desolate shots, you are left with an unexpectedly intense feeling of loss and anguish. It is important to note, however, that the last scene -- in which Giorgio's father meets the Finzi-Continis in a detention center -- is fictitious and does not appear in the novel, and Bassani had a falling out with de Sica about this.

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