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Cristo si è fermato a Eboli (1979)

In the fascist Italy of 1935, a painter trained as a doctor is exiled to a remote region near Eboli. Over time, he learns to appreciate the beauty and wisdom of the peasants, and to ... See full summary »

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Writers:

(novel), (screenplay) | 2 more credits »
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Won 1 BAFTA Film Award. Another 6 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Carlo Levi
...
Don Luigi Magalone
Alain Cuny ...
Barone Nicola Rotunno
...
Luisa Levi
...
Giulia Venere
François Simon ...
Don Traiella
Luigi Infantino
Francesco Callari
Antonio Allocca ...
Don Cosimino
Enzo Vitale ...
Dottore Milillo (as Vincenzo Vitale)
Maria Antonia Capotorto
Pietro Peragine
Vito Caraccia
Antonio Di Leva
Accursio Di Leo ...
Joiner
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Storyline

In the fascist Italy of 1935, a painter trained as a doctor is exiled to a remote region near Eboli. Over time, he learns to appreciate the beauty and wisdom of the peasants, and to overcome his isolation. Written by Benjamin Bergery <bbjamin@micronet.fr>

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Genres:

Drama

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Details

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Language:

Release Date:

23 February 1979 (Italy)  »

Also Known As:

Christ Stopped at Eboli  »

Company Credits

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Technical Specs

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| (TV) | (video) | (cut)

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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Goofs

On the bus, the way Carlo holds the dog changes. See more »

Quotes

Luisa Levi: You'd need a woman here.
Carlo Levi: Yes, I would. But it's not easy.
Luisa Levi: Come on, don't exaggerate. Don't tell me that here even finding a cleaning lady is impossible.
Carlo Levi: Here a woman wouldn't go in the house of a single man. Just spending time together implies sleeping together.
Luisa Levi: You can't be serious.
Carlo Levi: Oh, yes I am.
See more »

Connections

Featured in Il cineasta e il labirinto (2004) See more »

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User Reviews

 
Flawed, especially when compared to its peers.
1 September 2000 | by (dublin, ireland) – See all my reviews

This dutiful, detailed three-and-a-half TV epic describes the exile of dissident intellectual Carlo Levi in a remote village of fascist Italy, blighted by poverty, disease, immirgration and governmental contempt. The film is part-character study, part-socio-historico-political analysis, part careful representation of a people and its place. It is seriously flawed (the people are sentimentalised, the politics are simplistic, the pleasant presentation (music, major actors, cinematography etc.) works against the horrifiic subject matter); but there are nice ironies too, such as the Christlike Levi capable of the fascism he deplores.

The film can be seen in two contexts, as a neo-realist riposte to the prominent anti-realist 70s films about Fascism ('The Spider's Strategem', 'The Conformist', 'Amarcord'), and as a prestigious historical epic on a national theme frequent in the 70s and 80s ('The Travelling Players', 'Heimat'). In both cases it falls short.


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