#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Mussolini’s Italy, late 1930s: the Finzi-Contini are one of the leading wealthy Jewish families. Their adult children gather friends for tennis and parties at their lovely grounds, with the rest of the world at bay, while politics close in.
Plot: In late 1930s Ferrara, Italy, the Finzi-Continis are a leading family: wealthy, aristocratic, and urbane; they are also Jewish. Their adult children, Micol and Alberto, gather a diverse circle of friends for tennis and parties at their villa with its lovely grounds, and try to keep the rest of the world at bay. But tensions between them all grow as anti-Semitism rises in Fascist Italy, and even the Finzi-Continis will have to confront the Holocaust.
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Bittersweet and elusive…
In THE GARDEN OF THE FINZI-CONTINIS — based on the autobiographical novel by Giorgio Bassani — legendary Neorealist filmmaker, Vittorio de Sica, dramatizes the human cost of the `racial laws’ gradually implemented against the Jews in Fascist Italy during the years 1938-43. The more Bassani’s young middle-class Jewish protagonist feels the brunt of Mussolini’s anti-Semitic edicts encroaching upon him, the more he feels drawn to the aristocratic Jewish Finzi-Continis’ estate — their Edenic “garden” — and to Micòl, the family’s beautiful young daughter. Psychologically, this compulsion seems to stem from a deep emotional attachment to a perpetually innocent, untroubled state of childhood, which both Micòl and her garden seem to represent. Throughout the film, there is a marked conflict between childhood and adulthood, between the distant past and the immediate present, between the act of retreating into a world of comfortable illusions and confronting a world of harsh and bitter realities.
I found this particular aspect of the story very fascinating, although too tantalizingly obscure and open-ended — and thus, not quite as illuminating or fulfilling as it might have been were it more clearly explained. (This could the reason why some people find the film — and its heavily symbolic, impressionistic style — a little confusing and underwhelming.)
For Giorgio — both the naive hero and wisened author of the story — Micòl embodies the mystery and allure of the Finzi-Continis, as well as their insularity and their apparent passivity in the face of the escalating Fascist crackdown. She always appears distant and unattainable, with no obvious reasons for her actions, and never really provides a direct, comprehensible explanation for her insistent rejection of Giorgio or for what appears to be a subtle streak of cruelty towards him. Her conversation with him always seems deliberately vague, and her refusal to make any further connection with him has a curious, almost perverse kind of fatalism about it. Again, this is another feature of the film that is certainly intriguing — and strangely seductive — but, alas, never quite pays off enough to become fully understandable to either the protagonist or the audience. When the Fascists finally do arrest the Finzi-Continis and confiscate their estate it comes as something of a surprise. The muted and deliberately spare representation of these characters and their feelings, as evidenced in their unusually restrained behavior, is meant to isolate and heighten the impact of a few devastating strokes of sudden realization and lucidity — pointed indications that the protective spell of the Finzi-Continis has been finally broken.
All in all, well-acted and gorgeously, languidly poetic in its imagery…yet, narrative-wise, the picture seems overly elliptical and ultimately opaque — and leaves just a few too many rough fragments and loose ends lingering at the end of the story (not quite Proustian irony, maybe?). In spite of this peculiar drawback, the film finishes very effectively, and by the final desolate shots, you are left with an unexpectedly intense feeling of loss and anguish. It is important to note, however, that the last scene — in which Giorgio’s father meets the Finzi-Continis in a detention center — is fictitious and does not appear in the novel, and Bassani had a falling out with de Sica about this.
Il giardino dei Finzi Contini
The Garden of the Finzi-Continis is not just a physical safe space from the pressures and evils of a world about to be plunged into a second world war, but also a metaphysical memory of the mind, a last enduring remnant of the pre-war society where Jews were not third class citizens. De Sica obliges with his camera, never revealing it in its entirety, never connecting the endless towering walls of the estate to the rest of the town, or constraining its limits. It has a mystical quality that doesn’t seem to be defined by logical or rational size limits. The lighting is over-exposed to create a dreamy, utopian aura like the characters are prancing about in the Garden of Eden. The camera steals peeks from behind trees and zooms in with a slight shakiness, as if we were voyeuristically intruding on this paradise.
And we have a reversal too, that certainly goes against the propaganda of the time and Hitler’s wishes – the Jews aren’t dishevelled caricatures but tall and beautiful with the blondest of locks. Micol is particularly graceful, and has caught the eye of a fellow Jewish boy, although they might be from different worlds altogether the way that this is portrayed. Their first meeting is, as convention goes, Micol peeking over the great big walls of her estate and conversing with the lowly Giorgio. This motif has been used to indicate distance before – think Romeo and Juliet – but here it is imbued with a greater purpose and sense of injustice because they are after all of the same Jewish descent. They prance about in their mansion as if not aware of this biological fact; flaunting their privilege and wealth – when Jews are barred from the local tennis club, they host their own because they of course have their own courts. And when Giorgio is barred from the local library, he consults their vast book stores.
De Sica establishes this all with a keen eye. His camera, long removed from his neorealist days, draws attention to itself and pieces of information that are vital. In a pivotal scene, Giorgio is so lovestruck that he climbs the cabana to spy on her private affairs. He is despondent to find the aftermath of a love affair between Micol and the tall, dark Bruno Malnate, who was presumably too frank in his political views to ever associate with her. And what does Micol do? Not hurriedly move to cover herself, but instead gazes right at Giorgio, as if to force him to confront the truth of her nature, and how it has been violated (but willingly of course, as Mussolini had done) by the fascist gentleman. That pretty idealist version of her is long gone in the past, made murky by the tendrils that would lead to the Holocaust.
The garden remains in Giorgio’s mind, long after the Jews rights have been taken from them until not even his father can justify it. But it does not unfold like some nightmare that has been fetishsized for maximum horror and impact. When he is told that he cannot stay in the library, he asks why, and the security guard cannot give him an answer, only that he is following orders. And how many soldiers have testified to that claim? On the one hand, we have Schindler’s List, and on the other we have this – a slow, systematic purge, that is continually justified until it can no longer be. The children cheer because they will miss school, never mind any real implications. The vile undertone of anti-Semitism lurks throughout, and Finzi-Contini’s ignore it and ignore it and ignore it…until they no longer can, and the precedent that De Sica has set is torn down. That 500 year old estate has no bearing.
Original Language it
Runtime 1 hr 34 min (94 min)
Genre Drama, History, War
Director Vittorio De Sica
Writer Giorgio Bassani, Ugo Pirro, Vittorio Bonicelli
Actors Dominique Sanda, Lino Capolicchio, Helmut Berger
Country Italy, West Germany
Awards Won 1 Oscar. 11 wins & 3 nominations total
Production Company N/A
Sound Mix Mono (R C A Italiana S.p.A.)
Aspect Ratio 1.85 : 1
Laboratory DuArt Film Laboratories Inc., New York, USA (color), S.P.E.S., Roma, Italy (negatives processing)
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm