Andrea Marcocci's life takes a tragic turn when family and social problems threaten him with total collapse, pushing him further into drinking and farther from his youngest son, whose own story unfolds innocently enough even in the midst of a painful adult world. In a configuration which would do Welles proud, Pietro Germi not only helms the project with an empathetic directorial eye (making use of a fairly 'restless camera' in the process), he also pens some meaningful dialogue and narration, as well as jumping enthusiastically into the put-upon role of the lead character Andrea. Providing the basis for these three main corners of the film's development, the overall vision is tightly organized and well-crafted. There is an evident love for tracking shots, which are handled well and with theatrical ease. The viewer is whisked through homes, along sidewalks, matching the movement of any number of forward-moving folk. Which is another large aspect of this film: there is solid forward momentum -- towards death or life one cannot say at any point, but the film proceeds there at a confident speed. As a bonus, a bittersweet score interacts quite well with what happens on-screen and evenly matches the tone and pace of the film.
With echoes of "The Bicycle Thief", this is a serious (but not devastating) film offering an emotional look at the workman's Italy in the 1950's. What makes it special is the occasional inspired scene or performance which hints at the greatness lurking just beneath its half-sentimental surface. Of special note are the shifts in focus between the various occupants in the story, such as the relationship (and stark contrast) between the dark goings-on and Andrea's young, perceptive boy Sandro. Although the child starts the film intrusively enough, he quickly becomes an integral and engrossing part of the story, taking charge of the narration even and guiding your hand through his family history as much as he interconnects and guides the family in the creation of that history. Certain touches highlight the immense depth he wields, yet also the unmarred innocence. He's at once very young and very old, very naive and very wise ... a startling character which grounds a great deal of the film.
Also of worth is the continual upswing and downswing in mood throughout the film. In one moment it seems like a marriage will be mended, the next it seems about to shatter. In one moment a man is drinking his life away, when only a short while later his life is immersed in a scene seemingly straight out of the ending of "It's A Wonderful Life". And this is where there exists a major separation from the tragic Bicycle Thief; as much as life can hit hard and swift, so too can it blindside one with blessings, forgiveness, and hope. Bittersweet though the climax may be, it nonetheless imparts a view that some days are indeed diamonds, to be cherished while you have them, and most days are coal, to be weathered as best one can, striving for a bright horizon that may not come. But strive we must.
With echoes of "The Bicycle Thief", this is a serious (but not devastating) film offering an emotional look at the workman's Italy in the 1950's. What makes it special is the occasional inspired scene or performance which hints at the greatness lurking just beneath its half-sentimental surface. Of special note are the shifts in focus between the various occupants in the story, such as the relationship (and stark contrast) between the dark goings-on and Andrea's young, perceptive boy Sandro. Although the child starts the film intrusively enough, he quickly becomes an integral and engrossing part of the story, taking charge of the narration even and guiding your hand through his family history as much as he interconnects and guides the family in the creation of that history. Certain touches highlight the immense depth he wields, yet also the unmarred innocence. He's at once very young and very old, very naive and very wise ... a startling character which grounds a great deal of the film.
Also of worth is the continual upswing and downswing in mood throughout the film. In one moment it seems like a marriage will be mended, the next it seems about to shatter. In one moment a man is drinking his life away, when only a short while later his life is immersed in a scene seemingly straight out of the ending of "It's A Wonderful Life". And this is where there exists a major separation from the tragic Bicycle Thief; as much as life can hit hard and swift, so too can it blindside one with blessings, forgiveness, and hope. Bittersweet though the climax may be, it nonetheless imparts a view that some days are indeed diamonds, to be cherished while you have them, and most days are coal, to be weathered as best one can, striving for a bright horizon that may not come. But strive we must.