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It takes some time to collect into the myth of this film, and the filmmakers seize their time telling the epic. With most films, that would be a criticism, but in this case it is a signal of what is distinctive and improbable about this film — easily one of the most worthwhile and compelling fictions ever created for the astronomical shroud. After about an hour and a half I was completely bent and there was no chance I wasn’t going to end and gawk both parts of this six-hour film, which is by turns touching, funny, and devastating. (It is not, by the plan, that the first hour and a half are dumb, but that they are designed to give you time to procure to know the characters — rest assured that the film is never insensible — unless the very concept of a subtitled film about people from another country bores you.) Liberated from the need to vow their anecdote in a two or three hour scope, the filmmakers opted to effect it not so noteworthy about a single event or action that affects the lives of a few people but about the people themselves as their lives unfold in complex and unpredictable ways in connection with the events taking status in Italy and in their families over a period of three decades: a fabulous cast of characters played by noteworthy actors who exhibit them convincingly aging and changing over the course of about thirty years. We have time to gain to know them, and care about them as people, to the point where they become like family. It is hard to credit before watching this film the claims by numerous critics that after six hours they didn’t want it to be over — but in my case at the kill I absolutely agreed. Though it is not strictly speaking critical and the film already comes to a perfect conclusion — and is probably impossible, given that the film ends in the year 2000 — I found myself wishing there were a third allotment. In that sense, it is closer to television or to the unique than to most films. It is also stop to television in its intimacy, told as it is mostly through closeups — but it is fantastic to perceive that intimate attention to detail brought to life on the huge hide. Serene, for its scope and grandeur and power, and for its ability to connect intimate details to issues of extremely wide scope both historical and contemporary, it is very worthy a cinematic tale. There are a few moments that test the credibility of the audience — but somehow it all works to give the kind of exquisite and sharp experience that we often look but rarely net in the cinema. Definitely a film to recognize in the theaters if you fetch lucky enough to have the chance (Miramax has done a very bad job distributing this: holding on to it for a couple of years and then not bright what to do with it and getting it out to only a few theaters: now it is running the College film festival circuit, so withhold an scrutinize out for it there; I got the chance to stare it only because I brought it to the film series I race in Saint Petersburg, FL), but it is definitely a must when it comes out on DVD in February.
This Italian film is a masterpiece, one of the greatest works I’ve ever seen in my life. I’m contented I invested myself in the film when it was played in two parts at a local theater this summer. Director Marco Tullio Giordana’s legend is six hours long, but attending the film was an incredibly enchanting and special experience. It’s the myth of two very different brothers, Nicola and Matteo, and how their family coped with the last 40 years of social, personal and political upheaval in Italy. The lead actors, Luigi Lo Cascio and Alessio Boni, each give distinguished and believeable performances as their characters ancient over 40 years. The scope of this film’s myth is mammoth, filled with provocative, well-defined characters, and it never steps substandard. It has satisfactory actors, a enormous script and stunning cinematography. Most of my common movies this year featured some mammoth quest or wobble, an attempt to seek something original or derive a intention to grow, and THE BEST OF YOUTH featured the grandest journeys, the most though-provoking people, the most magnificent sites, the deepest tragedies and the most fulfilling discoveries. The act of going to the theater to view it – making two trips in two weeks – became an endeavor, and the movie rewards those who invest their time in it. This is the best movie I saw in 2005.
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