Cinema Paradiso

The criticism of Cinema Paradiso has produced both praise and censure for its depth, originality and production. While critics’ views varied, a common thread remained central. There was a sheer adoration for the film as a nostalgic tribute to the medium it represents. This paper will explore the critical analysis of Giuseppe Tornatore’s work and how it is linked to the information gathered from Italian Cinema 103 Summer Term in Italy held by Drew University. This linkage is proved and supported by concentrating on the following areas: the failure of the original release, the autobiographical undertones, and the use of the flashback and visual imagery to create a nostalgic atmosphere. Furthermore, the role of the movie theater as a mode of escape and church substitute will be explored. Finally, the cinematic shortcomings and the necessary suspension of disbelief will be discussed. All of these elements will clarify the meaning of film. Most importantly, they will secure its place in film history by evaluating the cultural significance of the medium itself.
Cinema Paradiso was originally released in Italy in 1988, with poor reviews. The negative reviews, along with a weak publicity campaign, afforded the film only a few day

age before TV, had a role similar to that of the Church” (Donen, 96). “For Salvatore, the outmoded projector, the frames of celluloid and the poster are all holy relics” (Travers, 39).

Many critics found shortcomings in different aspects of the film. Brian Johnson stated that the movie demands an certain suspension of disbelief (61). Alfredo’s character is played by French actor Noiret whose voice is filtered through the voice of another actor dubbing his lines in Italian. He also found an obvious lack of resemblance between the actors that played Salvatore during three stages of his life to be disturbing. Furthermore, the other actors were seen to age at uneven rates. He concluded that the movie casts a spell of such gentle enchantment and liking that its use of cinematic license is easily forgiven.

Its success as sentimental nostalgia is due to the poignant use of an extended flashback (Johnson, 60). Salvatore (Toto), a successful Italian film maker, learns of the death of his childhood mentor, Alfredo. His memories take him back to the village in Sicily where he first fell in love with film. The imagery of the cinema creates a scene that may perfectly convey that movie going then was the same anywhere, thus reinforcing its historical significance. Much of “the action is seen through the small window of the projection booth, and some of the best moments come when Tornatore’s camera rests on its other side, where the audience--mothers nursing their babies, old solders snoring and young lovers necking-shares the magic of the movies” (Johnson, 61). There are even wonderful clips of old movies peppered throughout the film that add to its ambiance (Ansen, 86).

Many critics have alluded to the role of the cinema as being symbolic or comparable to the role of the church. Toto is an altar boy who finds the cinema more awe-inspiring than the church (Johnson, 61). “At the movie house, like in the church, the history of the village is enacted” (Bauman, 222). Critic March Donen stated that Alfredo “ quoting dialogue from movies as though imparting wisdom from the Scriptures, reveals the