After his battles with the communist mayor Peppone, Don Camillo is sent in exile by his bishop in a remote village. Peppone thought he got the village in his hands. But when the municipality decide to build a dike against the periodic floods, the proprietor of the land refuses. War between the village clans is about to begin. Maybe only the strong hand of the priest could persuade the landlord to change his mind. Will Peppone passed over his pride and send for his enemy?Written by
Jean-Marie Berthiaume <firstname.lastname@example.org>
Italian censorship visa #14698 dating from 12 July 1953. See more »
Pay close attention to Don Camillo's hand with the glass of castor oil in the "Castor Oil" scene. He pours what is clearly a viscous, oily liquid into the glass. Before drinking however, his hand drops out of view and when he puts the glass to his mouth the liquid is all of a sudden clear water. Apparently drinking the castor oil for real was one step too far. See more »
Two versions of the film were shot: one in Italian, one in French. See more »
Very good episode, like all the others to be honest, but this one stands out for a deep and strong message, religious and not.
In the first part, the forced retreat of don Camillo is a very intense piece of cinema. His personal "via crucis" up to the mountain, his dialogue with God (the conscience's speech ?) teach to us the real value of a redemption. Camillo's exile, thank God will last little time (Peppone knows anything ?), full of energies to fight again. For the glorious bell Gertrude fallen by the belfry, the tragic Po's flood, a singular battle of the clocks, the barbaric life in the boarding-schools and the last fascists' ardors.
Everybody having at least 60 years in Italy remembers the big Po river's flood (my parents told me plenty about it) in early 50s. These kind of movies are able to maintain living the records of both happy and tragic events that marked our history through the following generations. An epoch desperately needful of a common identity (and then the politics!) but basically already related with the simple, daily things.
Fernandel and Gino Cervi couldn't be more terrific in their roles. Like Fernandel was a perfect don Camillo, Gino Cervi was either a perfect Peppone, or Maigret in the french TV-series taken by Simenon's novels. Two underrated actors that inaugurated a prolific age of Italy/France co-productions.
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