Keri's+Final+Project+part.1

Cinema Paradiso - through my eyes. I consider Cinema Paradiso a very impactful film. When watching this film in class my attention was glued to the screen, enthused and interpretative of the characters on screen. However after the film ended and we began discussing it, I was surprised to learn the general opinion was a negative one. I enjoyed the film, but more than that, I felt like I understood it. Like anything else, film is whatever you believe it to be. It might have been made specific to the Director Producer or Screenwriters interpretation, but you as the audience take from it, whatever you see and hear, which doesnt necessarily have to be what was intended. This said, my opinion of the movie was one of positive feedback. The relationships between all the many characters were typical of those found in everyday life, some joyful and fulfilling, others filled with longing and misunderstanding. We don't know whats in store for us in the future, or how our relationships will develop and change, but as I watched this lifetime pass by in 2 hours, I found comfort in knowing how Toto's changed. I can compare his relationships with Alfredo, Elena and his mother among others to people in my life. Being able to do that is a sign of good, relatable and believable film making. Considering this movie is in Italian and I cannot say much more than "Ciao" it's truly an accomplishment of the actors ability to express the mood of the scene with body language and presence and not just with the tongue. Though the subtitles were useful, they were also annoying. Quite quickly I stopped reading them and only glanced down now again. It's a tribute once again to the cast I was still able to follow the proceedings. I especially enjoyed the performance of Salvatore Cascio, the young Toto. He had a large part in the film, and played it well. For someone so young he was able to take on completely the personality of his character and express the emotion necessary. Crying, wising off or even giving off an industrious belly laugh, he was able to portray the right feeling without going overboard or looking fake. I, however did not particularly enjoy the performance of Marco Leonardi, who played Toto as a teenager. he was alright, but not spectacular. He did not possess the same level of intensity as Alfredo and little Toto. This opinion might be partial to the way Marco Leonardi was introduced into the film. Since the movie was of his life, obviously he needed to age, but I did not like the flashforward. With a simple feel of his face Alfredo took his hand away, and voila, little Salvatore is now an adolescent. The rest of the screenplay was amazing though. I enjoyed the formatting, with the flashbacks of Adult Salvatore's childhood as he lay still on his side, in bed. Blasco Giurato did an excellent job with the cinematography. With simple things like having the lightning flash in Adult Salvatore's face during his trying flashbacks, and the setting chosen for the film. Obviously the Italian movie took place in an Italian setting, but more specifically, the town square and the original cinema were great aesthetics. The original cinema was quaint and homey, fitting for the times. Within it, the lion head covering the whole where the projection room is was a subtle symbol. As later the cinema burns down and Salvatore visits the ruins, he see's the lion head on the ground, which is now just a memory from the room he used to love so much. The film was released in 1988, which now we consider an old movie, but because of the plot and its flashbacks, it went even further back into time, something most of us watching the film now, did not experience first hand. The cinematography was real enough, and thorough enough to make us feel right at home, as if we were there as well. Beatrice Bordone also did a great job creating a realistic touch to the film with the costume designs. If costumes are chosen well, they usally go unnoticed, but one of the easiest ways to ruin a movie is to make it hokey, with corny costumes. Another usually underappreciated aspect of film making is the music. If it's done right, it adds to the emotion of the scene. It can be sweet and soothing, or add to rising tension. Since it's played while the actors are speaking, naturally your attention is focused on whatever is being said and diverted from the music. Ennio Morricone did a great job with the music in this film. It was subtle and bold in all the right scenes. Without it, the film would have been much less emotional. Giuseppe Tornatore was the Director and Screenwriter for this film. I suppose as the head-hauncho all final compliments and critiques go to him. In my opinion congratulations are in order, because I enjoyed this film. The plot he was trying to portray was one of sincerity, relationships and maturity each of which are still prevalent in today's world. This film is also a coming of age story, as Salvatore turns from "Toto" to "Mr. Di Vita". code code But why do you call me 'Mr. Di Vita'? It didn't used to be that way...
 * SALVATORE**

Well, it's hard to call an important person by his first name. But if it really matters to you, I'11 call you... (Smiling) Toto!...
 * SPACCAFICO**

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code  [|Script] When Salvatore comes back for Alfredo's funeral, he is now a big shot in the film industry, and has not been called Toto in years, but as he talks to his old friend, he is puzzled by the new reference. The man who used to order him around was now humbling himself right in front of him, strange. This is when it becomes blatant to Salvatore and the audience that his changes and development has been recognized.