6.9/10
671
20 user 23 critic

Così ridevano (1998)

Turin at the end of the fifties: two brothers have emigrated there from Sicily and the older works very hard to let the younger study and free himself from poverty through culture. The boy ... See full summary »

Director:

Gianni Amelio

Writer:

Gianni Amelio

On Disc

at Amazon

9 wins & 14 nominations. See more awards »

Photos

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Cast

Cast overview, first billed only:
Enrico Lo Verso ... Giovanni
Francesco Giuffrida Francesco Giuffrida ... Pietro
Fabrizio Gifuni ... Pelaia
Calogero Caruana Calogero Caruana ... Amico di Giovanni
Roberto Marzo Roberto Marzo ... Amico di Giovanni
Davide Negro Davide Negro ... Amico di Giovanni
Giorgio Pittau Giorgio Pittau ... Amico di Giovanni
Pasqualino Vona Pasqualino Vona ... Amico di Giovanni
Giuseppe Zarbano Giuseppe Zarbano ... Amico di Giovanni
Giuliano Spadaro Giuliano Spadaro ... Padre della famiglia foggiana
Patrizia Marino Patrizia Marino ... Madre foggiana
Giuseppe Sangari Giuseppe Sangari ... Figlio
Francesca Monchiero Francesca Monchiero ... Figlia
Giorgia Scuderi Giorgia Scuderi ... Assuntina
Salvatore Refano Salvatore Refano ... Il vecchio siciliano
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Storyline

Turin at the end of the fifties: two brothers have emigrated there from Sicily and the older works very hard to let the younger study and free himself from poverty through culture. The boy however is not keen on school and would like to begin to work. When after some time he gets his degree however things take a violent and dramatic turn...... Written by Salvatore santangelo <pappagone2@libero.it>

Plot Summary | Add Synopsis

Plot Keywords:

school | teacher | student | turin | sicily | See All (41) »

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

Italy

Language:

Italian | French | Latin

Release Date:

2 October 1998 (Italy) See more »

Also Known As:

The Way We Laughed See more »

Filming Locations:

Turin, Piedmont, Italy

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Box Office

Opening Weekend USA:

$10,210, 25 November 2001, Limited Release

Gross USA:

$44,286, 24 March 2002
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Despite winning the top prize at the Venice Film Festival, Gianni Amelio still had to wait over three years before he saw his film released in the US. See more »

Quotes

Giovanni: You think your children are your own, then they learn to walk and they leave you. Know what they say back home? "Raise hogs, 'cause then you can eat them"
See more »

Connections

References Rocco and His Brothers (1960) See more »

Soundtracks

Un buco nella sabbia
Written by Alberto Testa and Piero Soffici
Performed by Mina
Courtesy of Mascheroni Edizioni Musicali Srl
See more »

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User Reviews

 
mezza sola
16 March 2002 | by camel-9See all my reviews

"mezza sola" means half a shoe sole in italian. It is an expression used to describe something that didn't quite satisfy. After all the oop-la, the expectations for this motion picture were high. But at the end, our "stomachs" were left empty. Production-wise, it was poor: most of the shots are indoors, with very few outdoor shots. In the entire movie length, only one vehicle is seen. The movie is billed as the emigrant experience of a southern italian to the industrialized city of Turin in the late '50s. It is actually a family drama of the relationship of two brothers. It used the Turin emigrant story as background, and yet the city was hardly seen. If the movie was billed as the story of two brothers in China's Shangai, one could hardly find a problem with it (I say this to emphasize how much the "indoor" shots were dense). Also, each single take seemed to be three seconds too loooong. It is as if the director is in love with the story, he is financing the movie with his own money, and thus he feels justified to make his story told on his long, boring way. The style of the cinematography and costumes is a Spielberg-like focus on a few pivotal items such as rope being used to tie shut-closed the overbulging suitcases, the rawness of clothing, and the thick sician accented dialogues. But, like Spielberg's, this picture was noticeable in that it was a historical drama *intentionally* retouched awash in a sepia-backgrounded memory. To me, it trivialized the story. A more sucessfull aproach is Lina Wertmuller's, that, while certain traits are over emphasized, but justified if the film is not a drama but a comedy, in which the focus is not the manieristic style itself but the story, this in a mannieristic background.


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