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Three Brothers More at IMDbPro »Tre fratelli (original title)

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11 reviews in total

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13 out of 15 people found the following review useful:
Italy, past and present, through the eyes of lyric poet., 10 December 2001
Author: Gerald A. DeLuca (italiangerry@gmail.com) from United States

THREE BROTHERS narrows with ease the gulf between two creative approaches in Italian cinema: the drama of social observation and the poetry of lyric force. That any film-maker would be able to look at the problems of a modern industrial society with the sensitivity of a poet or a painter is a wonder in itself. That director Francesco Rosi succeeds so eloquently is doubly wondrous. But then this is the gifted creator of CHRIST STOPPED AT EBOLI and ILLUSTRIOUS CORPSES. The three brothers have returned to their southern home village after the death of their mother. The film begins with the magnified sounds of heartbeats on the soundtrack against the bleak images of a huge building with dark, knocked-out windows. When the credits end we are shown a hideous cluster of rats in close-up. It is the disturbing nightmare we have shared with the middle of three brothers, a worker in a boys' reformatory in Naples. Frustrated by his battle to keep kids off drugs and away from crime, he is the self-giving liberal who is losing the fight. The younger brother is a Turin factory worker, embittered about his working conditions and victim of a failing marriage. The eldest son is a sedate magistrate in a Roman court who is handling a case involving terrorists and who constantly fears for his own life. He also looks upon his radicalized younger brother as a threat, one of the potential terrorists he is struggling against. The Puglia village to which the brothers return is an impoverished place from which they have long escaped and for which each professes a hopeless nostalgic attachment. Much of the movie delves into the varying anxieties of the brothers at a moment of intense introspection. Their aging patriarch father, on the other hand, is a man of great dignity, calm, and simple religious fervor, an emblem of what modern society has lost. He reflects a diminishing and changing past that can never be regained. It is a past that the old man's little granddaughter, with her childlike fascination for the little pleasures of country life, becomes fond of. There is bond between the two that is one of the most touching elements of this film. In a way she is a continuation of her own dead grandmother's attachment to the simple joys of life. The film says that while the sons have gained something in the amenities of urban civilization, they have lost something as well, something vital and profound. They have lost their home, their roots, their traditional values. They lie on children's cots now too small for them. They are overgrown children in cribs, and their uneasy reflections take on the bitterness of regret. They had departed from here for the best of reasons and once gone, as the youngest brother explains, they became immediately homesick. What is in THREE BROTHERS? Very little, if you count. There is a death, a brief return to a hometown, a few memories and flashbacks, some jarring evocations, a child playing, a burial, a beautiful final image. Indeed, nothing much happens. And yet it is as though everything happens. From its poetic tableau-like portrait of life, death, homesickness, there emerges a tapestry of modern society, perhaps even modern man in general, that is as violently graphic as it is lovingly gentle. It is a work of art.

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8 out of 8 people found the following review useful:
Beautiful and wise but not recommended for those who don't enjoy thinking :-), 31 March 2004

Author: anagram14 from Zürich, Switzerland

In the seventies, Italian judges ran the risk of being murdered. (These days, they are liberally berated by Signore Berlusconi, which I suppose is a change for the better.) The conflicts that ran through Italian society at the time are vividly reflected in "Tre Fratelli". The plot briefly reunites three brothers of quite different ages at their mother's death-bed. The oldest is a judge fighting terrorism, the youngest an industrial union member fighting for better work conditions. The third has dedicated his life to teaching difficult boys, and pleads for peace when his brothers start airing their views at each other and bickering over the use of violence in politics.

All three are idealists with lots of ideas. Although Rosi is interested in these ideas to a degree which immature viewers may find taxing, he emphasizes the emptiness of ideas alone. At one point the judge gets to say: some of us want to become as rich as they can, some of us want to change everything, both sides want to do it ASAP, and both have a terrible contempt for human life. On a more private note, none of the brothers has an unequivocally happy marriage. The judge's wife fears he will be killed and is constantly pleading with him to refuse dangerous cases; the youngest brother leaves his temperamental wife when she has one affair to his dozens; the teacher fears the intimacy of a committed relationship, and has remained celibate.

The ancient widower, in harmony with the picturesque countryside he lives in, is a contrast to his sons' torments. Even his memories of his wife are as good as it gets. Each of the characters has a dream episode; his is the only one that is neither unhappy nor utopian. He tells his city-bred granddaughter about her grandmother, about animals and stars, and the two reach an understanding deeper than that of the "grown-ups". Is it only women who place survival above politics? Is it only the very young and the very old who are wise enough not to take human affairs too seriously?

"Happy the man, and happy he alone, he who can call the day his own; he who, secure within, can say: Tomorrow, do thy worst! For I have lived today."

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6 out of 7 people found the following review useful:
Living In Agreement With The Laws Of Nature, 5 December 2000
Author: two-rivers from Ore Mountains, Germany

*** This review may contain spoilers ***

An old man goes to the telegraph office and transmits the news of the decease of their mother to his three sons, who live scattered all over Italy. So much for the initial situation, which Rosi has taken from a Platonov story.

The sons, who then arrive one by one in the South Italian village of the father, are far apart from each other, not only concerning their age. They have also taken completely different roads in their professional careers and in their spiritual developments. The first one, a judge, has to deal with terrorist cases and every day has to reckon with being killed cold-bloodedly by the mafia. The second one could almost be one of the terrorists himself, at least he strives for societal changes, being a worker and a trade union member. The third one has dedicated his life completely to the fulfilment of utopian educational targets and looks after maladjusted juvenile delinquents in a boarding school.

The Italy presented by Rosi is as disunited as the chosen family. It is not only geographically split into two incompatible halves, the North and the South, but also sociologically into different classes that stand facing each other irreconcilably. But "Tre fratelli" has more to offer than just regional or social conflicts. Life itself becomes the center of attention, apart from the three brothers, who represent middle age, also the old father and his eight-year-old grand-daughter are dominating protagonists. These two are able to form a curious alliance of old age and youth, whereas the brothers are just talking at cross purposes in senseless discussions and only reach a sentiment of unison through the mourning at their mother's funeral.

The little girl wants to know a lot about the past, and the old man is willing to remember. He finally recalls the perhaps most blissful moment of his life: Shortly after his wedding he accompanies his wife to the beach, where they both enjoy a short spell of light-heartedness, just before the hard struggle of earning one's living will demand all their forces. There the woman is playing in the sand, lost in thought, but then she suddenly rouses from her daydream and calls out the name of her husband: She can't find her wedding ring, which she has removed accidentally, and now it seems to be lost in the sand. Everything is at stake, but tragedy can be averted for the man keeps his cool, rushes to the next house and comes back with a sieve. A little later he holds the recovered ring in his hands triumphantly.

This event seems to have been meaningful for the further living together of the couple, only the late arrival of Death intervenes in this apparently undisturbed harmony. The feelings of the old man are now marked by sorrow and grief because of the loss, but not by bewilderment or anger. These are the laws of Nature, which he has to obey. In the last take he therefore just slips on that ring again, the ring that signifies one thing in particular to this man who is about to reach the end of his journey. It shows him the reality of his life, that short spell of time that has slipped away so incredibly fast but of which at least he has the comforting certainty of having used it well.

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4 out of 4 people found the following review useful:
A death in the family, 2 December 2006

Author: jotix100 from New York

*** This review may contain spoilers ***

The disturbing opening scene is a nightmare that Rocco Giuranna is having. The rats that are scavenging a trash site seem to herald what he and his two brothers will face as the three come together because the death of their mother. Rocco is a social worker living in a state reformatory where he is in charge of young boys that are in the institution to be re-educated. Unfortunately, they will probably will go to be hard criminals when they are released from the Naples correctional facility.

Raffaele, the older brother, is a judge in Rome. He has been asked to preside over an important case coming to trial that involves local terrorists. Italy was living harsh days at the time and judges were the target for paid assassins or revolutionaries with an agenda for eliminating those that dared to speak against them. The upcoming trial has a profound effect on Raffaele's wife, who knows it probably means the death of her husband.

The third brother, Nicola, is a factory worker. Like his brothers, he fled the poor South of Italy in search for a better future in Torino. What he finds is unhappiness as he rebels against the firm he feels is enslaving him and his co-workers. His marriage has suffered because his wife has cheated on him and they are separated.

It is at this junction that all three brothers are summoned to come home as their mother has died. Donato, the older father, is lost, as he ponders what is going to become of him. His memories of happier times, with the woman he adored, keep flooding back to him as his three sons come home to mourn for their loss. The three brothers, in turn, are haunted by their own memories of their present lives and their youth in the small town in Puglia before they left home.

Francesco Rosi, adapted Andrei Platonov's novel "The Third Son", together with Tonino Guerra, one of the best writers in the Italian cinema. Mr. Rosi, a director who shows an affinity for presenting ordinary people in difficult situations in their lives, scored a big success with this film. He knows these characters. The director makes an enormous contribution in the way he deals with the emotions of the principals in this film about the love of the land, on the one hand of Donato, the father, and the restlessness of the three sons that abandoned their birth place in search of a better living. Rosi's triumph is in showing us that ultimately, it's Donato, the father, the one that stayed behind who is the one that lived a better life than their three sons.

The director achieves a triumph in the way he directed the four principals in the film. Philippe Noiret, Michele Placido, and Vittorio Mezzogiorno do an excellent job in bringing to life, Raffaele, Nicola and Rocco. It is however Charles Vanel, the veteran French actor who stays with the viewer because of his exquisite portrayal of the older Donato. Mr. Vanel hardly utters a word throughout the movie, yet, his presence is so powerful that at times one tends to forget the others. Mr. Vanel's Donato is one of the best creations in his long film career in France.

Pasqualino DiSantis' cinematography captures the essence of what Francesco Rosi was looking for. The director and his photographer were well attuned indeed. Ruggero Mastroianni's film editing shows once more his elegant style of putting the material together. Francesco Rosi is the one that brought all the elements together in this dramatic and satisfactory film.

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3 out of 4 people found the following review useful:
Evocative film about life, its purpose, and how people can change, 22 December 2001
Author: Raymond A. Pacia (raypacia@yahoo.com) from Providence, RI, USA

"Tre fratelli" is a most evocative film that poses to the viewer fundamental questions of life, relationships, and how both can unknowingly be lost.

Raffaele, Nicola, and Rocco, the three brothers, had emigrated from their hometown in Puglia. Raffaele, the judge, although outwardly sedate, is consumed by paranoiac fear for his life. That fear puts a strain on his marital life. While Raffaele lives in fear, Nicola dwells over his poor marriage. His pain is so terrible not only because he still has feelings for his wife, but also because of Marta, his daughter. As Marta and her father were driving in the car back to Puglia, there was an intense chemistry between the two. The love he felt for his daughter was genuine and pronounced. Rocco, the third brother, is somewhat of a radical. That's almost expected; he runs a reform school, a very tiring job. He clashes with his brother, Raffaele, who fears that he is one of the terrorists that would kill him. "Tre fratelli" is a very ironic title. The brothers are not at all similar. They do, however, have on thing in common. They're all unhappy people.

Donato, the father, is in a world completely different from that of his sons. He's not the most loquacious person. However, he is a man of tremendous faith. He has no part of the Northern/Southern Italian class conflicts. By remaining at home, has retained his values. That's not to say that anyone who moves away loses his values. But, in the brothers' case, they had truly forgotten the "paese" that they had left.

In the film, there was an underlying theme of cultural change. As the boundaries between the North and South became less defined, so would the bucolic life of the South that could so easily impart values upon its people. Marta and Donato's relationship grows out of that nostalgic reflection on days gone by. Marta's presence is crucial. She brings out her grandfather's character, so representative of traditional familial values, which otherwise would have been drowned by the bickering of the brothers. With Donato's flashbacks, it becomes evident that Marta reminds him so much of his deceased wife; both could live their life in a simplistic, yet joyful way. The technique of flashback clearly enriches the message of director Francesco Rosi. Sadly, the viewer becomes predisposed to the feeling that those traditional values will die with time. In one of the more important instances of flashback, Donato recalls the time when he was at the beach with his wife, and they found her ring. In its unadulterated form, that scene conveyed pure joy. The final scene in which Donato held the ring was incredibly symbolic. As he held it, he came to the bittersweet understanding that he had lived his life in search of happiness, had found it. No matter how much longer he had to live, he would know that he had lived a good life. Regional and class conflicts obviously manifest themselves in the relationships of the three brothers. Before they even realized it, they were deprived of the values and maturing experiences that their father treasured so dearly. When they went home to Puglia, they truly didn't go home. That small town had ceased to be their home a long time ago. But, Rome, Turin, and Naples were no longer true homes to the brothers, either. To truly be home, one must first know what he truly desires.

At the end of the mother's funeral, while mourning their mother, it seems as if the brothers understand the essence of their family, as envisioned by their father and mother. Paradoxically, it takes the death of their mother to catalyze a rebirth in the lives of the three brothers.

"Tre fratelli" is obviously not acclaimed because of a climactic plot. It is Francesco Rosi's masterful portrayal of two conflicting perceptions of life that are so very clear to the viewer. By juxtaposing the relationships between the three brothers and that of Donato and Marta, Rosi's theme is magnified, reminding the viewer that we should all have an idea of the life we wish to lead. Let's note, however, that Donato does not live in a world of ignorant bliss; he is not naive. He merely had a clear perception of his true, human desires. The end of "Tre fratelli" is quite hopeful. It shows the viewer that no matter how much we isolate ourselves, we can always return. The brothers returned home as strangers, but it's obvious that in Puglia, their memories of the past were ignited, beseeching them to return to way that beatifies the fundamental joy in life, a joy that is not excluseive to southern Italy. We can live happily anywhere. As "Tre fratelli" so heart-wrenchingly reminds us, our lives can slip by quickly, yet without meaning. However, by looking inside of ourselves, we can always regain that which we have lost.

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1 out of 4 people found the following review useful:
Beautiful and thought-provoking film, 14 December 2006

Author: voacor from Houston

I just watched this film with my wife on a Netflix DVD. It is a very slow-paced film, but it captivates you and does what a great film should always do-- it transports you to another world and allows you to enter the lives of other people. In this case, we see the world through the eyes of three brothers, each of whom has long ago moved away from the impoverished village in southern Italy where they grew up. Each has taken on a distinct vocation-- The eldest is a respected judge, a member of the establishment, who, in spite of threats from terrorists, continues to carry out his duty. The middle brother is a liberal, charitable man who is trying to help kids in trouble and whose heart bleeds for the wretched of the earth. The youngest is a Don Juan, who migrated to the northern city of Turin to find work and got mixed up in the radical labor movements that are close to, if not part of, the very terrorist organization the elder brother is trying to stop.

The three brothers engage in conversation about these matters and we see their thoughts in dreams and flashbacks. But what really grounds the film is the old man, their father, and his remembrances of his recently departed wife. His tenderness with his granddaughter also gives the movie a sweet touch. In the end, this film leaves you richer for the experience of having watched it.

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1 out of 4 people found the following review useful:
You wil not want to dance., 8 November 2005
Author: (futures@exis.net) from Ronn Ives/FUTURES Antiques, Norfolk, VA.

"Three Brothers" (Italian, 1980): An extremely melancholy movie – more like the depression of a Swedish film or the ennui of a French film, than anything typically Italian. Three estranged brothers receive word their Mother has died. Daily lives are put on hold, and each heads to the "country" for the funeral, their Father, and to reacquaint with one another in the village of their childhood. The three are shown in forgiving contrast to their Father, one of the son's daughters, and the old family dog. Think of this movie as a trim, non-commercial, patient, personal, very thoughtful "Big Chill". The scoring was perfectly sad and delicate throughout…you will not want to get up and dance. However, unlike a Swedish film, "Three Brothers" does slowly reveal glimmers of acceptance and hope.

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1 out of 4 people found the following review useful:
One of those movies that deserves a much larger audience..., 31 July 2005

Author: Philip Van der Veken from Tessenderlo, Belgium

I've always been very interested in Italy, its culture, its architecture, its cinema,... and that's why I will not let a chance go by to watch an Italian movie, because most of the time you'll see a fine combination of all these factors in it. So far I've already seen several Italian films, including some fine award winners like "La Meglio gioventù" and "La Stanza del figlio", and I can't remember that I've seen many that I really didn't like.

"Tre fratelli" tells the story of three brothers who return to the farmhouse in southern Italy where they grew up after the death of their mother. Except for their family ties, the three adult men don't really seem to have anything in common. Raffaele is a happily married judge in Rome who risks to be assassinated for a political case he hasn't even accepted yet, Rocco is a single social worker who works at a correctional institute for boys in Naples and Nicola is a radical factory worker from Turin who lives separated from his wife and who is involved in labor disputes and therefor risks to be fired. Together they have several discussions about the meaning of life, marriage terrorism, the mafia,... while their father grieves over the loss of his wife with his young granddaughter, who he also teaches something about life in the countryside.

Perhaps not everybody agrees with me, but this movie reminded me a lot of "La Meglio gioventù". And you can definitely see that as a compliment, because I really loved that movie a lot. This movie too showed how several family members, who don't seem to have much in common at first, make the best of their lives together, with the current social and political situation in Italy on the background. The main difference is that this movie only focuses on the 1980's, while the story of the other movie started in 1966 and ended in 2000.

Philippe Noiret, Michele Placido and Vittorio Mezzogiorno are very nice to watch as the brothers and Charles Vanel was very good as their father, but if I have to chose one actor who really surprised me, then it must be the young Marta Zoffoli. Despite her young age, she gave away a very fine performance and in my opinion she was the true star of the movie.

Overall this is a very nice drama that certainly should get a lot more attention than what it has received so far. When I see that it has only received 130 votes until now, I truly believe that this movie doesn't get the audience that it deserves. It has a good story and some very fine acting to offer, the decors are nice and thanks to Francesco Rosi, the director and co-writer of this movie, everything has been brought together into one solid movie. I give this movie at least a 7.5/10 and hope that many more will see it.

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1 out of 5 people found the following review useful:
slow film but good ideas, 8 May 2002
Author: RaquelitaP from st. pete, fla

This film made during the late seventies studies how a family deals with the death of their martriarch. I found myself relatively bored watching the film but I was impressed with the amount of detail that went into developing the characters. What is most impressive is how the filmmaker concentrates on the differences in generations. That is to say the filmmaker compares and contrasts each caracter with where they were born, when, and how they were brought up.

If you are in the mood for a sit back and rest type of film this is not it. But if you want a thinker, you've met your match.

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1 out of 6 people found the following review useful:
concept of family, 4 April 2002
Author: "OBE" from st. petersburg, fl

Rossi touches the spectator with a movie that is part the modern Italy, being the way of living of the three brothers, and the old and more rural Italy, the lifestyle of Donato, the father. "Tre fratelli" is a melancolic piece of art, the way Donato remembers his wife and how Marta can remember him of his wife. The relationship between the three brothers is seemed to be tense due to the differences between them until Raffaele asks Rocco about his sexual life...something that always seem to break tension between brothers or friends. It is very interesting how all the adults have a dream or a memory and therefore we are told part of the story that way, such as the real fear of Nicola to be killed or the willingnes of Rocco to help the problematic kids.

Another Rossi piece of art in a simple and poetic way.

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