Rocco und seine Brüder

I feel that this is just as much about his brothers as it is about Rocco. I don't even think Rocco is the key figure in the story. The film is constructed of five chapters in each of which the emphasis is more or less on one of the five brothers (Vincenzo Parondi, Simone, Rocco, Ciro, Luca). The chapter about the youngest brother contains remarks about about their attitude towards life and the philosophy for the future. But it never gets heavy-handed because everything is so natural and the whole is very accessible. The story is about the struggle of a family from the south of Italy that moves to the city (in the first minute) and struggles with jealousy, wrath, regrets, confusion and citylife. But the most important element throughout the film are the bonds between the members of the family, which you guessed from the title ofcourse.

Cinematographer Giuseppe Rotunno (Amarcord, Regarding Henry, Il Gattopardo -> all three not comparable BTW) and the other makers of this film where not ambitious or pretentious while making this masterpiece: that would really have been besides the point they were making and unnecessary too, because the story and the pace don't need it and the cast is brilliant.

Some more references. The score was done by Nino Rota (Godfather, Amarcord, Il Gattopardo): the tune that helped making Godfather famous was already more or less completed here in 'Rocco'. The film might have been inspired by Ladri di biciclette (1948) and may in turn have been the inspiration for Raging Bull (1980), the Outsiders (Coppola, 1983) and even the Godfather, although 'Rocco' has nothing to do with neither mafia nor with America. In 1963 Delon, Cardinale (who has a very small role in 'Rocco') and Visconti would work together on Il Gattopardo. But 'Rocco' has to be Visconti's greatest! (besides Morte a Venezia, which is a TOTALLY different film BTW). Also see Hotel New Hampshire (1984).

10 points out of 10 :-)

It is quite widespread to evaluate a movie after forty or more years in terms of time test. In many cases, we may claim that some movies are like wine: the older they are, the better they occur to be. Yet, not many movies are great in the intensity of being captivating on multiple levels. This can be said about ROCCO E I SUOI FRATELLI by Count Visconti, a film considered not only by its director to be his best one but still appreciated by lots of viewers worldwide. Let me consider some of its strongest points that I noticed while seeing the film.

The most important thing that drew my attention in ROCCO E I SUOI FRATELLI was the wide range of life situations, themes and feelings which one can enumerate endlessly. The viewer is truly given an insight into profound development of charming affection, bitter humiliation, outrageous mockery, sweet desire, wretched rivalry, Utopian idealism, cruel vengeance, sad disappointment, intense sorrow, indefatigable disillusion, upsetting despair directing themselves towards final hope. By analyzing the content and trying to identify with the characters (note that it is not "observing" the characters but "identifying" with them like in classic Greek tragedies), the viewers dive into life situations which, at the same time, can be present in their own experiences: family ties, unemployment, social status, honor, social pressure, plotting, crimes...are they not all up to date now as they were in 1960? But this aspect cannot be separated from the characters.

CHARACTER ANALYSIS. Rocco (Alain Delon) is an idealist, a very good person but too noble to succeed in this world. He appears to be a sort of biblical king David whose pardoning and love lead him to omit the teaching example and forget those who really care for him. His brother Ciro (Max Cartier), however, is a good realist who knows what the family means, how it matters; yet, who does not ignore the purifying punishment for wickedness. He seems to be as good hearted as Rocco; however; his mind is indeed more "earthly." He heads for goodness filled with honest intentions but keeping both feet firmly on the ground. Vincenzo is most individual and, thanks to getting married, most separated from the family. The "villain" brother is Simone (Renato Salvatori) who becomes a successful boxer but gradually turns to declining psychological strength poisoned by desire, jealousy and vengeance. In between comes a poor mother Rosaria Parondi (Katina Paxinou) who copes with true psychological suffering of lost hope and humiliation. An interesting character is a "fallen woman" Nadia (Annie Girardot) who is as changeable and as romantic as a classical tragic female in her dreams but down to earth and desperate in her acts. When it seems possible for her to fulfill the dreams of a better life, it is too late...

There is so much profoundity and complexity in the movie that one could dwell in the themes for long. However, let me focus on the ARTISTIC FEATURES of the movie, too.

Visconti's movie is a very valuable cinematic work with truly stunning cinematography, perfect direction, excellent script, wonderful moments. Anyone who decides to see this film should not ignore three moments that appear to be the milestone of film's harmony. The first one is Rocco and Nadia on the top of Milanese cathedral where she opens her psyche to him and, at the same time, his reaction is like a great blow of individual reality affecting the mutual one: "We'll never meet again" The second moment is the scene when all the family except for Simone celebrate Rocco's championship in boxing. The two bells that ring: the first one being a mysterious visit, the second one being Simone's entrance leave critical thoughts and conclusions. The third is the final moment when Ciro talks to their youngest brother Luca about life, future, and errors that should never be made again. However, that is not all. There is something more that makes Visconti's film an artistic pearl, PERFORMANCES.

All cast do excellent jobs portraying their characters in a genuine way with a necessary invitation for viewers to identify. Alain Delon is unforgettable as Rocco: gentle, kind hearted, sometimes weak, sometimes very straightforward in personal decisions. The opposite counterpart appears to be Renato Salvatori who perfectly portrays Simone - so wild, so tremendously unstable, so easily led to fear, addiction and tragic despair. Another performance that deserves appreciation is Katina Paxinou's in the role of mother Rosaria: religious with a bit of superstition, so dominant over her sons, and generally so good hearted. A mention should be made of a minor role of Claudia Cardinale who plays Ginetta, Vincenzo's wife.

ROCCO E I SUOI FRATELLI is a must see, a movie that everyone should watch profoundly addressing three levels of attention: first, a sole interest in Visconti being one of Neorealist directors aside DeSica, Rossellini and others; second, the artistic side including cinematography, direction, charm, performances; third, insight into both content and characters, their realistic complexity, humanity of life. Then, these three hours of watching will not occur in vain.

Visconti at his peak. We are in the fifties, when Italian economy experiences a post-war boom. A Sicilian family arrives to Milan running from south's poverty. They dream with a new life at the industrial pole of the north. But Milan is not precisely a land of opportunities. Exploitation and xenophobia is the common destiny for those who came from south of the country. This film is a perfect sequel to "La Terra Tembla", one of the earliest Visconti's looks on Marxism. The hopes and lives of this five brother's family sink onto a pit at the same time as they destroy themselves. "Rocco and ..." is intensely played by the entire cast, including a young and delicate Alain Delon as the idealistic Rocco, an exquisite Annie Girardot as a prostitute trying to survive to her own hell and a terrific Renato Salvatori. But is the figure of the peasant mother, played superbly by Katina Paxinou, the most remarkable piece of this operatic story. Claudia Cardinale made some kind of Italian debut in this film. Nino Rota composes his most pitiful score and the black and white photography is stunning. The scene at the rooftop of Milan's Duomo is one of my all-time favorites. The American version is usually cut so try to find the original or some DVD restoration. A must see film.

I am a fan of Visconti movies. for the Barroco nuances and poetry of small things. for beauty of details and courage to present slices of a neorealism in which is mixed nostalgic crumbs of a world fall and need of new society definition. Rocco was first movie by him who I saw it. a film - bitter story. picture of a family, map of searches, touching drawing of a victory of city and the love as delicate web. and, sure, one of wonderful roles of Alain Delon. in fact, a gate, or only a window to a time who becomes ours. because story is universal. and the figure of poor mother - letter of a never ending poem , is remarkable. end of an age. seed of a new form of self definition for Italian cinema. but, very important, testimony, not about a period. but a state of soul. must see it !

I was lucky enough to catch this extraordinary film late last night on a cable channel. It's about a widow from southern Italy who moves to Milan with her five sons. Gradually they become embroiled in the big city, some becoming corrupted by its ways, others profiting. Rocco, played by Alain Delon, is an innocent, looking at his brothers and life in general with saintly patience. When his beneficent attitude comes under pressure, he doesn't give in to self-interest, choosing to sacrifice his own happiness, and that of the woman he loves, for his family. Family is really what 'Rocco and his Brothers' is all about. I've never got into Visconti, but seeing this film has made me want to see more of his work. Also, this move has one of the most powerful images I've ever seen, as the maddened Simone advances towards the doomed prostitute Nadia. It's an image so remarkable I actually shouted aloud when I saw it. I urge you to see this film. It's a remarkable, passionate, beautifully photographed drama that will stay with you for a long time.