Rocco and His Brothers 1960 123movies

Watch: Rocco e i suoi fratelli 1960 123movies, Full Movie Online – Widow Rosaria moves to Milano from Lucania with four of her sons, one of whom is Rocco; the eldest son, Vincenzo, already lives in Milano. In the beginning, the family has a lot of problems, but everyone manages to find something to do. Simone is boxing, Rocco works in a dry cleaner’s, and Ciro studies. Simone meets Nadia, a prostitute, and they have a stormy affair. Then after finishing his military service, Rocco begins a relationship with Nadia. A bitter feud explodes between the brothers–will it lead to murder?.
Plot: When a widow’s family moves to the big city, two of her sons become romantic rivals with deadly results.
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Ratings:

	8.2/10 Votes: 19,323
	89% | RottenTomatoes
	84/100 | MetaCritic
	N/A Votes: 451 Popularity: 10.055 | TMDB

Reviews:

Renato Salvatori shines in Visconti’s masterpiece
The Italian master Luchino Visconti’s 1960 (melo)drama “Rocco e i Suoi Fratelli” is the best film I’ve seen in a long, long time, and it deserves to be up there among European cinema’s finest achievements, along with Visconti’s other masterpiece, “Il Gattopardo” (1963).

Aristocrat turned communist, Visconti draws a beautiful, but horrible picture of Milan in the 1960s, when the “immigration” from the South was at its peek, and the social problems in Northern Italy exploded. The differences between north and south in Italy are enormous, and were perhaps even greater back when Visconti and his scriptwriting crew decided to make a contemporary film about a family moving northwards. Visconti wanted to make a film about a mother and her five sons, like the five fingers on her hand, like the mother herself exclaimes at the end of the film. This is not an agitational film, though, just a superbly acted study of a society in disorder and a portrait of a family trying to make ends meet in a harsh world they do not know. Like another Italian director, Pier Paolo Pasolini, noted, the South of Italy stayed an undeveloped land even after the North became industrialized, and that didn’t happen before after WWII. This is the grim truth, and the person who thought this film was depressing should just stay on his or her pills and turn his or her eyes towards the real world, because the world IS a depressing place. You just cannot blame directors with a social conscience for trying to tell a story which lies close to their hearts, then you should stay away from film criticism and criticize the world instead. I am so tired of that.

Renato Salvatori makes a performance of a lifetime as the troubled brother Simone, while Alain Delon stays calm and controlled as Rocco, the protagonist, if there is one. Boxing is used as a metaphor for the anger the young men feel, but when Simone fails, Rocco succeeds by fueling his fighting with the contempt for his brother’s actions. The two brothers are torn between the beautiful prostitute Nadia, whom they both love passionately, but she only loves Rocco- and that almost breaks the family. The other brothers are more supporting characters, and even though the film is long it should have been even longer- the second youngest brother, Ciro, is an interesting and morally strong character that I would have loved to see developed further. The pride, ignorance, hatred, loyalty and love of these people are held together by a perfect script by Visconti and his four collaborators, and cinema’s finest cinematographer, Guiseppe Rotunno, moves his camera magnificently through the streets, houses, and locales of a growing, but morally decaying Milan.

This is cinematic perfection.

An excellent film if you don’t mind that most of the characters are amazingly unlikable.
I assumed as I watched “Rocco and His Brothers” that Luchino Visconti intended this as a film illustrating about the dehumanizing aspects of living in the big city. The story is about a family from the country that moves to Milan and ultimately many of them turn out to be rather soulless–perhaps due, in part, to the rigors of everyday life. Because of this, it is VERY difficult to like most of the characters–the mother and some of her sons (particularly the two which are featured most prominently) are selfish and nasty. But, if you can look past this, the film is very well acted and very well made. Pleasant viewing? Good grief no…but very interesting.

The film is broken into five segments. Each is named after one of the brothers and not all what occurs centers just on the brother for which each portion is named, as Simone and Rocco are prominent throughout the film. It all begins with Mama and four of her sons arriving in the city, uninvited, in the middle of her son Vincente’s engagement party to Ginetta. Mama just assumes Vincente will take them all in when they leave their country home and get his brothers jobs. Ginetta’s family is flabbergasted and there is a huge argument and her family stomps out of the party. Despite this being Mama’s fault, she is angry at Ginetta throughout the film and sulks. This is the first indication that this family has an illness in their soul–much more is to come later.

The rest of the film mostly centers on Rocco and Simone. Simone has a real chance to bring himself and his family out of poverty, as he seems to have a lot of talent when it comes to boxing. The problem is that Simone is also lazy and a real creep. As for Rocco, he seems like a nice guy but also is inextricably tied to his family. Nothing matters more than his family–even right and wrong. So, when Simone ultimately proves to be a truly evil pig, Rocco cannot bring himself to condemn him and even makes excuses for him. Things then only get worse until, ultimately, Ciro cannot take it any more and deserts his family in order to do what is right. Still, as the film ends, Rocco remains impotent–unable to do anything to break from his family’s sick need to protect itself from the world even when they have done evil. If you wonder why I haven’t gotten more specific about the plot, it is because saying more would really spoil the film. Plus, at nearly three hours, there is much, much more to “Rocco and His Brothers”.

An odd thing about this movie and many other Italian films of the era is that the film has a multinational cast. Instead of just Italians, there are French and Greek actors in this one and the film is dubbed into Italian. While this may sound terrible, it actually works pretty well. Plus, while they might not have been natural Italian speakers, the non-Italians did a nice job.

While I think, as I mentioned above that the film was intended as an indictment about the dehumanizing nature of the big city, I do like how many different interpretations can be found. While I assume that Visconti might not have envisioned other meanings (since he was of a strong socialist bent), it could also be assumed that the family was always corrupt or that the city only gave them a chance to reveal how rotten they were. Plus, not all the boys were bad–several seemed decent but also some of these were unfortunately extremely loyal to a mother who was rather awful. From a psychological or psychoanalytic point of view, the film also offers MANY interesting interpretations–such as some weird multi-child Oedipal fixation occurring throughout the film. Or, that so much of Simone’s story is phallic. Or, that the boys have never learned to separate themselves from the umbilical cord. Or, perhaps the meaning is more obvious–misplaced loyalty. I am sure there are also many, many other interpretations and I appreciate that about a film. I hate obvious and easy to understand–and “Rocco and His Brothers” is a very complex movie.

So is the film worth seeing? Well, yes, it is a pretty amazing film for 1960. But, it also is very unpleasant and very, very long–so it’s certainly NOT a film that everyone will enjoy. Additionally, it’s NOT a film I would recommend if you have been a victim of sexual assault, as the film touches on subject matter that might be a bit overwhelming and there is a rape scene that is tough to watch (though fortunately not too sexually graphic).

By the way, I noticed that some described this as a Neo-Realist film. While it has many aspects of such a type of film (such as its being set in natural locations around the city of Milan), the film did employ mostly professional actors (such as Alaine Delon and Katina Paxinou)–something you would never find in a true example of Neo-Realism. Perhaps it’s a Semi-Neo-Realist film. In general, as Italy recovered from the economic problems following WWII, the number of non-actors starring in the Neo-Realist films decreased–probably since the studios gradually were able to pay for real actors. Yet, despite this, many of the early Neo-Realist films are still among the greatest films in the country’s history.

Other Information:

Original Language it
Runtime 2 hr 59 min (179 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Crime, Drama, Sport
Director Luchino Visconti
Writer Luchino Visconti, Suso Cecchi D’Amico, Vasco Pratolini
Actors Alain Delon, Renato Salvatori, Annie Girardot
Country Italy, France
Awards Nominated for 2 BAFTA 10 wins & 10 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory N/A
Film Length 4,829 m (restored version)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm