| Luigi Ornaghi | ... | Batistì | |
| Francesca Moriggi | ... | Batistina | |
| Omar Brignoli | ... | Minec | |
| Antonio Ferrari | ... | Tuni | |
| Teresa Brescianini | ... | Widow Runk | |
| Giuseppe Brignoli | ... | Anselmo | |
| Carlo Rota | ... | Peppino | |
| Pasqualina Brolis | ... | Teresina | |
| Massimo Fratus | ... | Pierino | |
| Francesca Villa | ... | Annetta | |
| Maria Grazia Caroli | ... | Bettina | |
| Battista Trevaini | ... | Il Finard | |
| Giuseppina Langalelli | ... | La Moglie Finarda | |
| Lorenzo Pedroni | ... | Il nonno Finard | |
| Felice Cervi | ... | Uslì | |
| Pierangelo Bertoli | ... | Secondo | |
| Brunella Migliaccio | ... | Olga | |
| Giacomo Cavalleri | ... | Brena | |
| Lorenza Frigeni | ... | La moglie di Brena | |
| Lucia Pezzoli | ... | Maddalena | |
| Franco Pilenga | ... | Stefano | |
| Guglielmo Badoni | ... | Father | |
| Laura Lecatelli | ... | Mother | |
| Carmelo Silva | ... | Don Carlo | |
| Mario Brignoli | ... | Padrone | |
| Emilio Pedroni | ... | Fattore | |
| Vittorio Capelli | ... | Fritz | |
| Francesca Bassurini | ... | Luca Maria | |
| Lina Ricci | ... | Donna del Segno |
Directed by | |||
| Ermanno Olmi | |||
Writing credits | ||
| Ermanno Olmi | (written by) | |
Cinematography by | |||
| Ermanno Olmi | |||
Film Editing by | |||
| Ermanno Olmi | |||
Production Design by | |||
| Enrico Tovaglieri | |||
Set Decoration by | |||
| Franco Gambarana | |||
Costume Design by | |||
| Francesca Zucchelli | |||
Makeup Department | |||
| Guiliana DeCarli | .... | makeup artist | |
Production Management | |||
| Alessandro Calosci | .... | production manager | |
| Domenico Di Parigi | .... | production supervisor | |
| Attilio Torricelli | .... | production manager | |
Art Department | |||
| Rossella Guarama | .... | assistant production designer | |
Sound Department | |||
| Italo Cameracanna | .... | sound effects | |
| Amedeo Casati | .... | sound engineer | |
| Aldo Ciorba | .... | sound effects | |
Camera and Electrical Department | |||
| Antonio Calzavara | .... | chief electrician | |
| Carlo Petriccioli | .... | camera operator | |
| Giovanni Spinelli | .... | key grip | |
| Enrico Visconti | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Valeria Mariani | .... | seamstress | |
Editorial Department | |||
| Elma Rigoni | .... | assistant editor | |
Music Department | |||
| Johann Sebastian Bach | .... | composer: additional music (as J.S. Bach) | |
| Fernando Germani | .... | musician: organ | |
Other crew | |||
| Enrico Leoni | .... | production secretary | |
| Fiorella Lugli | .... | script supervisor | |
| Giulio Mandelli | .... | delegate: RAI | |
| Archimede Orlando | .... | administrator | |
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| 1900 | My Father's Glory | Christ Stopped at Eboli | Forbidden Games | Au Revoir Les Enfants |
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IMDb User Rating: |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Italy section |
If there were any reason for dropping out of normal life and dedicating oneself entirely to watching Italian films, this might be it! The majestic simplicity and dignity of this film make even the best contemporary films seem trivial and stillborn by comparison. Loved by sensitive audiences and critics alike, Ermanno Olmi's movie describes incidents in the lives of four families sharecropping in Lombardy at the coming of the twentieth century. Olmi's extraordinary command of imagery, movement, rhythm, and lighting conveys a potent nostalgia for Earth and the family of man. There is a scene in which images of a father carving clogs for his shoeless boy are intercut with the lives of the farm families. The music accompanying that scene is a Bach organ chorale. The effect is almost sacramental and entirely overwhelming and may be one of my favorite scenes in all cinema. That scene alone is worth more than all the digitalized special effects, car crashes, ocean liner sinkings, and the deafening Dolby vapidity of so much of the inane junk embraced undiscriminatingly by so many. If they only had the eyes to see, ears to hear, and the soul to love this wondrous work of art!
The most authentic version on this film has the original Bergamasco dialect track. The newer DVDs from Italy have the option of choosing this soundtrack.