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|Nuovo Cinema Paradiso|
Original release poster
|Directed by||Giuseppe Tornatore|
|Written by||Giuseppe Tornatore|
|Edited by||Mario Morra|
|Distributed by||Miramax Films (US)
|Running time||155 minutes
124 minutes (International cut)
118 minutes (DVD cut)
174 minutes (Director's cut)
|Box office||$12,397,210 (US only)|
Nuovo Cinema Paradiso (Italian pronunciation: [ˈnwɔːvo ˈtʃiːnema paraˈdiːzo] New Paradise Cinema), internationally released as Cinema Paradiso, is a 1988 Italian drama film written and directed by Giuseppe Tornatore. The film stars Jacques Perrin, Philippe Noiret, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio, and was produced by Franco Cristaldi and Giovanna Romagnoli, while the music score was composed by Ennio Morricone along with his son, Andrea.
In Rome, in the 1980s, famous Italian film director Salvatore Di Vita, returns home late one evening, where his girlfriend sleepily tells him that his mother called to say that someone named Alfredo has died. Salvatore obviously shies from committed relationships, and has not been to his home village of Giancaldo, Sicily in 30 years. As she asks him who Alfredo is, Salvatore flashes back to his childhood.
It is a few years after World War II. Six-year-old Salvatore is the mischievous, intelligent son of a war widow. Nicknamed Toto, he discovers a love for films and spends every free moment at the movie house — Cinema Paradiso. There he develops a friendship with the fatherly projectionist, Alfredo, who takes a shine to the young boy, and often lets him watch movies from the projection booth. During the shows, the audience can be heard booing when there are missing sections, causing the films to suddenly jump, bypassing a critical romantic kiss or embrace. The local priest ordered these sections "censored." The deleted scenes are piled on the projection room floor. At first, Alfredo considers Toto a bit of a pest, but eventually he teaches Salvatore to operate the film projector. The montage ends as the movie house catches fire — highly flammable nitrate film was in routine use at the time. Salvatore saves Alfredo's life, but not before some film reels explode in Alfredo's face, leaving him permanently blind. The Cinema Paradiso is rebuilt by a town citizen, Ciccio, who invests his football lottery winnings. Salvatore, yet a child, is hired as the new projectionist, being the only person who knows how to run the machines.
About a decade later, Salvatore, now in high school, is still operating the projector at the Cinema Paradiso. His relationship with the blind Alfredo has strengthened, and Salvatore often looks to him for help — advice that Alfredo often dispenses by quoting classic films. Salvatore has been experimenting with film, using a home movie camera, and he has met, and captured on film, Elena, daughter of a wealthy banker. Salvatore woos — and wins — Elena's heart, only to lose her due to her father's disapproval. As Elena and her family move away, Salvatore leaves town for compulsory military service. His attempts to write to Elena are fruitless; his letters are returned as undeliverable. Upon his return from the military, Alfredo urges Salvatore to leave Giancaldo permanently, counseling that the town is too small for Salvatore to ever find his dreams. Moreover, the old man tells him that once he leaves, he must pursue his destiny wholeheartedly, never looking back and never returning, even to visit — he must never give in to nostalgia or even write or think about them.
Salvatore has obeyed Alfredo, but he returns home to attend the funeral. Though the town has changed greatly, he now understands why Alfredo thought it was important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride, and he left him something — an unlabeled film reel and the old stool that Salvatore once stood on to operate the projector. Salvatore learns that Cinema Paradiso is to be demolished to give way to a parking lot. At the funeral, he recognizes the faces of many people who attended the cinema when he was the projectionist.
Salvatore returns to Rome. He watches Alfredo's reel and discovers that it makes up a very special montage. It contains all of the romantic scenes the priest had ordered cut from movies. Alfredo spliced the sequences together to form a single film. Salvatore has made peace with his past.
- Philippe Noiret as Alfredo
- Salvatore Cascio as Salvatore Di Vita (child)
- Marco Leonardi as Salvatore Di Vita (adolescent)
- Jacques Perrin as Salvatore Di Vita (adult)
- Antonella Attili as Maria (young)
- Enzo Cannavale as Spaccafico
- Isa Danieli as Anna
- Pupella Maggio as Maria (old)
- Agnese Nano as Elena Mendola (adolescent)
- Leopoldo Trieste as Father Adelfio
- Nino Terzo as Peppino's Father
- Giovanni Giancono as The Mayor
- Brigitte Fossey (Extended cut) as Elena Mendola (adult)
Cinema Paradiso was shot in director Tornatore's hometown Bagheria, Sicily, as well as Cefalù on the Tyrrhenian Sea. The famous town square is Piazza Umberto I in the village of Palazzo Adriano, about 30 miles to the south of Palermo. The ‘Paradiso’ cinema was built here, at Via Nino Bixio, overlooking the octagonal Baroque fountain, which dates from 1608.  Told largely in flashback of a successful film director Salvatore to his childhood years, it also tells the story of the return to his native Sicilian village for the funeral of his old friend Alfredo, the projectionist at the local "Cinema Paradiso". Ultimately, Alfredo serves as a wise father figure to his young friend who only wishes to see him succeed, even if it means breaking his heart in the process.
Seen as an example of "nostalgic postmodernism", the film intertwines sentimentality with comedy, and nostalgia with pragmaticism. It explores issues of youth, coming of age, and reflections (in adulthood) about the past. The imagery in the scenes can be said to reflect Salvatore's idealised memories of his childhood. Cinema Paradiso is also a celebration of films; as a projectionist, young Salvatore (a.k.a. Totò) develops a passion for films that shapes his life path in adulthood.
The film exists in multiple versions. It was originally released in Italy at 155 minutes, but poor box office performance in its native country led to its being shortened to 123 minutes for international release; it was an instant success. This international version won the Special Jury Prize at the 1989 Cannes Film Festival and the 1989 Best Foreign Language Film Oscar. In 2002, the director's cut 173-minute version was released (known in the U.S. as Cinema Paradiso: The New Version).
Extended cut/Director's cut
In the 173-minute version of the film, after the funeral, Salvatore glimpses an adolescent girl who so resembles the teenage Elena that he suspects that she must be a close relative. He follows the teen on her scooter to her home, which allows Salvatore to contact his long-lost love — the girl's mother. Contacting her by telephone, he is met by Elena's rejection, but later she reconsiders and goes to see Salvatore, who was contemplating his rejection at a favorite location from their early years. Their meeting ultimately leads to a love making session in her car. He learns that she had married an acquaintance from his school years, who became a local politician of modest means. Afterwards, feeling cheated, he strives to rekindle their romance, and while she clearly wishes it were possible, she rejects his entreaties, choosing to remain with her family and leave their romance in the past.
During their evening together, a frustrated and angry Salvatore asks Elena why she never contacted him or left word of where her family was moving to. We learn that the reason they lost touch was because Alfredo asked her not to see him again, fearing that Salvatore's romantic fulfillment would only destroy what Alfredo sees as Salvatore's destiny - to be successful in film. Alfredo tried to convince her that if she loved Salvatore, she must leave him for his own good. Elena explains to Salvatore that, against Alfredo's instruction, she'd left a note with an address where she could be reached and a promise of undying love and loyalty. Salvatore obviously never knew of, or found, her note and thus lost his true love for more than thirty years. The next morning Salvatore returns to the decaying Cinema Paradiso and frantically searches through the piles of old film invoices pinned to the wall of the projection booth. There, on the reverse side of one of the dockets, he finds the handwritten note Elena had left thirty years earlier. Effectively, it was Alfredo's silence that kept the romantic adolescents apart, so that Salvatore would move on to achieve great things.
The film ends with Salvatore returning to Rome and viewing the film reel that Alfredo left, tears in his eyes. The final impression of the extended cut is more bittersweet when compared to the pared-down version: Salvatore sees Alfredo as the source of great love in his life and of great loss, as he was cheated of the one woman he truly loved.
A special edition of Cinema Paradiso was released on DVD by Umbrella Entertainment in September 2006. The DVD is compatible with all region codes and includes special features such as the theatrical trailer, the Director's Cut version, scenes from the Director's Cut, the Ennio Morricone soundtrack and a documentary on Giuseppe Tornatore.
An Academy Award edition of Cinema Paradiso was released on DVD by Umbrella Entertainment in February 2009. It is also compatible with all region codes and includes different special features such as Umbrella Entertainment trailers, cast and crew biographies and the Director's filmography.
Cinema Paradiso was a critical and box-office success and is regarded by many as a classic. It is particularly renowned for the 'kissing scenes' montage near the end of the film. Winning the Academy Award for Best Foreign Film in 1989, the film is often credited with reviving Italy's film industry, which later produced Mediterraneo and Life Is Beautiful.
Review aggregate Rotten Tomatoes reports that 89% of critics have given the film a positive review based on 57 reviews, with an average score of 7.9/10. The film also holds a score of 79 based on 16 reviews on Metacritic. The film was ranked #27 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.
- 1989: Cannes Film Festival
- 1989: Golden Globe Awards
- 1989: Academy Awards
- 1991: BAFTA Awards
- 2010 : 1st Annual 20/20 Awards
- Nominated - Best Picture
- Won - Best Foreign Language Picture
- Won - Best Cinematography
||This article has an unclear citation style. (July 2012)|
- Vancheri, Barabara (March 26, 1990). "Foreign-movie nominees discuss money, muses". Pittsburgh Post-Gazette. p. 10. Retrieved July 7, 2012.
- Cinema Paradiso, Domestic Lifetime Gross, retrieved December 29th, 2013
- Porter, Darwin; Danforth Prince (2009). Frommer's Sicily. Frommer's. p. 132. ISBN 0-470-39899-X.
- Marcus, p. 99
- Bondanella, p. 454
- "Festival de Cannes: Cinema Paradiso". festival-cannes.com. Retrieved 2009-08-01.
- "Umbrella Entertainment - Special Edition DVD". Retrieved 28 May 2013.
- "Umbrella Entertainment - Academy Award DVD". Retrieved 28 May 2013.
- "Umbrella Entertainment - Blu-ray". Retrieved 28 May 2013.
- "Cinema Paradiso Movie Reviews, Pictures". Rotten Tomatoes. Retrieved 2011-01-26.
- "Cinema Paradiso Movie Reviews, Ratings, Credits, and More". Metacritic. Retrieved 2011-01-26.
- "The 100 Best Films Of World Cinema – 27. Cinema Paradiso". Empire
The famed "kissing scene" montage at the end of the film was used in an episode of "Stealing First Base", an episode of The Simpsons that aired during on March 21, 2010, during its twenty-first season. The scene used Morricone's "Love Theme" and included animated clips of famous movie kisses, including scenes used in Nuovo Cinema Paradiso as well as contemporary films not shown in the original film.
- Awards IMDB
- Bondanella, Peter E. (2001). Italian cinema: from neorealism to the present. Continuum International Publishing. ISBN 0-8264-1247-5.
- Marcus, Millicent Joy (2002). After Fellini: national cinema in the postmodern age. JHU Press. ISBN 0-8018-6847-5.
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