Glücklich wie Lazzaro

Tender, poetic, philosophical, allegorical tale of control and exploitation and funnily enough the picture of the absurd yet the-truest-that-I've-ever-seen state of contentment. The sheer atrocities of manipulation and shameless discrimination of the fellow earthlings is heart-wrenching and tough to watch yet the poetic whiff that imbues it draws an overwhelming feeling of self-realization and utter admiration and gratitude towards the author of this Film-classic that questions the destiny of innocence in the Contemporary world.

There are some in our lives that exist beyond the scope of time or universally accepted countenance, those like Lazzaro who bear the kindness of a child and the internal strength of an ox. In Alice Rohrwacher junior film Lazzaro Felice (Happy as Lazzaro), the title character develops an unlikely friendship with the heir to a tobacco industry marquis. This same marquis has kept Lazzaro and his kin imprisoned as unpaid workers on a farm isolated from the modern world. The film mesmerizingly drifts between somber and bitter-sweet notes while the tobacco leaves and sway and the sun bakes the earth. Because the work is captured in warm 16mm, the setting feels like a piece of art from a lost age. Every character is real. A pinch is required to remind the viewer that this is not a dream or a production, Lazzaro and his partner in crime Tancredi are flesh and blood. The sound profile's depth compliments Lazzaro Felice's archaic beauty. The score uses music box chiming and staccato piano strikes, both of which echo throughout the Italian hills. Despite the Italian language barrier, one can understand the plot from vocal inflections alone. Lastly, the sound effects are rich. The pitter patter of the wolves' claws over concrete is distinct from the crunch of sand and soil underfoot. Lazzaro Felice is not to be missed. It calls to mind an air of innocence and perseverance in spite of the world. It beckons home the love of youth and family.

Watched the film at the Palic Film Festival few days ago and i'm still under its influence. Happy as Lazzaro is shot on Super 16mm, lending the film a grainy look that evokes warmth and nostalgia. Wonderful film that wraps its hands around you and with its unusual exotic atmosphere doesn't let go till the end. The acting is briilliant, especially from Adriano Tardiolo, extremley talented actor, hope to see him more in the future. Alice Rohrwacher made a masterpiece and without spoiling anything, I deeply recommend you to see it.

...can be the basic sin. You can say - it is well crafted or beautiful, a gem or a masterpiece, a story about innocence or a moving film. And it is it. But , after its end, you feel more than what may be described. The cinematography, the acting, the story each works, in admirable way. But it is an embroidery of states of soul. All is perfect but not for define. The magic, the slice of fairy tale, the crumbs of social portrait - yes, but what is gived is more.And remains a lovely secret, so personal.

Loosely inspired by a true story of Italian farmers who were forced into near sharecropper conditions by the De Luna family in an isolated village, Alice Rohrwacher's HAPPY AS LAZZARO takes a fantastical approach to the material. The early scenes of the workers toiling to get by in the hamlet is, like Rohrwacher's previous THE WONDERS (bee farmers), full of attention to detail - both visually and aurally (the sounds of the wind and the distant howls of wild animals become their own soundtrack). The screenplay (a winner at Cannes) becomes a fable as it moves along. The peasants eventually settle into the city - but, their lives at the bottom of the run continue. A hearty band, led by Antonia (a superb Alba Rohrwacher, the Director's sister) struggles to survive in the modern world. As fate would have it, they cross paths with the remnants of the De Luna clan. Throughout all this, is Lazzaro (Adriano Tardiolo). A sort of benighted Forrest Gump figure, Lazzaro drifts among the characters blissfully unaware of the darkness around him. Rohrwacher's fantasy elements (THE WONDERS also had a few), gives the film (shot on 16mm) a different perspective. The symbolism doesn't always fully connect, but, you never doubt that her vision isn't firmly conceived. One thought becomes clear and lingers in the mind: The wolf may be at the door, but, who is the wolf?